Frank Miller got me thinking...

Above photo (Left to right): Klaus Janson and Frank Miller at the School of Visual Arts’ “100 Years of Genius: The Life and Legacy of Will Eisner” event in April 2017. Photo by (DC Comics editor and SVA faculty member) Joey Cavalieri.

Frank Miller got me thinking.

On April 4, 2017, during his chat at the School of Visual Arts’ “100 Years of Genius: The Life and Legacy of Will Eisner,” Frank Miller talked a bit on the topic of Will Eisner and comic book Creators’ Rights. Miller explained Will’s views on comic book Creator’s Rights and contracts:

The most frequent business advice [Will Eisner] gave me was: ‘Stop whining.’ Because I would go in saying: ‘Creators’ Rights this, Creators’ Rights that, Creators’ Rights this.’ And he’d say: ‘Look, if you sign the contract, it’s over. Stop complaining about anything.’ His point of view was simply that if you’re working on other people’s material, then you don’t have that much of a claim. And so, clearly, his whole point was that the future of comics was for people to be introducing new material.

(You can watch the entirety of SVA’s “100 Years of Genius: The Life and Legacy of Will Eisner” event here on Youtube.)

In the book EISNER/MILLER, Will stated:

Take a look at the marketplace and understand what its realties are. I never subscribed to this Creators’ Bill of Rights because I believe that there was no reality to it. In the marketplace, moral rights are often disregarded.

And…

Well, there is no ingrained right, there are no God-given rights here. The rights are what you negotiate.

Now, it’s true that Will was a very savvy business person. (And you really have to be if you want to have a successful career in the arts.) I don’t think that Will would have needed to be reminded by something like (the very important) Creators’ Bill of Rights. However, the vast majority of young artists do need to be reminded and told about the Bill and about Creators’ Rights.

(I lecture on all of this in my Sequential Art: Comics Illustration class at SUNY Orange.)

In an interview on the Creators’ Bill of Rights and Creators’ Rights for THE COMICS JOURNAL (No. 137, September 1990) by Gary Groth and with Steve Bissette, Scott McCloud stated:

Whatever crimes are going on at companies where Creators’ Rights are not honored become pretty quickly irrelevant because essentially it’s your own damn fault if you decide to work there… if there is an alternative… yeah, if you went in with some knowledge. ‘What’s smoking?’ As long as the warning is there.

(A must-read and/or must-listen interview with Stephen Bissette and Scott McCloud.)

Over the years, I’ve been quite outspoken about comic book Creator’s Rights.

In 2005, I began becoming more vocal and more public about my views on Creators’ Rights. I started conversations with folks like Steve Bissette, Dave Sim, Rick Veitch, Scott McCloud, and even with Denis Kitchen, Erik Larsen, and Fernando Ruiz.

(All of these discussions are collected and posted at www.yacanteraseink.com)

Dave Sim had suggested to me that my eventual departure from Archie Comics may have been due to my public outspokenness on Creators’ Rights. Dave could very well be right.

In 2010, I officially ended my contributions toward work-made-for-hire.

(Two weeks ago, for about an hour, I was on the phone with a publisher and trying to convince him that I had no interest in working on their work-made-for-hire project.)



Above photo: This photo was taken in June 2014 during the "Creator-owned Comics (vs. Corporate-owned Comics)" panel at the Special Edition: NYC comics convention which was held at the Jacob Javits Center in New York City. I was joined on the panel by Mike Allred and Kurt Busiek.

In 2014, I was on the “Creator-owned Comics (vs. Corporate-owned Comics)” panel held at the Special Edition: NYC comics convention. The panel featured a discussion between myself, Michael Allred, and Kurt Busiek. That panel pretty much summed up my view on Creators’ Rights in regards to Creator-owned Comics versus Corporate-owned Comics.

Simply put: Comic book publishers have a horrible history with treating their writers and artists. If you’re interested in playing in the work-made-for-hire sandbox, then know the environment in which you’re working and know what your rights are. For me, now, creator-owned comics are the only thing that I’ll be doing in comics.

The topic of comic book Creators’ Rights does still interest me a great deal. I still believe that, at the very least, the Creator’s Bill of Rights is a must-read for professional comic book creators and for young artists who wish to have a career in comics and/or in animation.

It’s just that, now, I don’t know if we can actually change the policies of comic book publishers that promote work-made-for-hire. Maybe it’s just best to ignore the likes of Marvel and DC. There are more creator-friendly publishers out there. Why keep flogging a dead horse?

My opinion hasn’t changed, exactly. I like to think that my focus has just evolved. I don’t care what the corporate comic publishers are doing anymore.

I’m wondering if Will Eisner was more often correct about Creators' Rights than I previously thought.

2012 Will Eisner Comic Industry Awards…

I voted online for the 2012 Will Eisner Comic Industry Awards. I had several "Write-In" votes…

Best Continuing Series
RACHEL RISING Terry Moore (Abstract Studio)

Best Limited Series
ATOMIC ROBO AND THE GHOST OF STATION X Brian Clevinger and Scott Wegener (Red 5)

Best Archival Collection/Project--Comic Books
WALTER SIMONSON'S THE MIGHTY THOR: ARTIST'S EDITION (IDW)

Best Writer
(Write-In) Robert Kirkman INVINCIBLE, THE WALKING DEAD (Image Comics)

Best Writer/Artist
Terry Moore RACHEL RISING (Abstract Studio)

Best Penciller/Inker or Penciller/Inker Team
(Write-In) Ryan Ottley/Cliff Rathburn INVINCIBLE (Image Comics)

Best Cover Artist
(Write-In) Jock, DETECTIVE COMICS #880 (DC Comics)

Best Comics-Related Journalism
TwoMorrows Publications: ALTER EGO edited by Roy Thomas, BACK ISSUE edited by Michael Eury, DRAW edited by Mike Manley, and JACK KIRBY COLLECTOR edited by John Morrow



Above: Still an awesome cover to DETECTIVE COMICS #880 by Jock. I don’t know why this wasn’t nominated. I voted for it, anyway.

Happy birthday, Will Eisner!

Above: Comics legend and teacher, Will Eisner. William Erwin "Will" Eisner was born on March 6, 1917.

Will Eisner was always a wealth of information. Many members of P.I.C. were once students in Will’s ‘Sequential Art' class at the School of Visual Arts.



Above photo: Original artwork from Will Eisner’s A CONTRACT WITH GOD. This piece was part of the School of Visual Arts’ Ink Plots exhibit. The photo was taken during the exhibit's reception on October 14th 2010 by Miguel Martinez Joffre.

"I think comic books are far more than two mutants trashing each other." -Will Eisner (September 1986)

"I feel the same as the other winners ... proud and pleased by the approval of my peers. Of course I'm embarrassed at winning an award that has my name on it. But it will not stop me from continuing to produce the very best I can do. Perhaps I ought to change my name." -Will Eisner (who won a 2002 Eisner Award for "Best Graphic Album" for his THE NAME OF THE GAME)

"That’s one of the main struggles in this medium, anyway, is the struggle for sovereignty over storytelling and art. I believe this is a language. I think of it as a literary form. Comics is literature." -Will Eisner (from an interview in HERO GETS GIRL! By TwoMorrows Publishing)

"(SHOP TALK interviews) reinforced the feeling I always had about the fact that this (comics) is a valid literary form and also a valid field to be in. And when you talk to guys like Joe Kubert and Jack Kirby- as simple a guy as he was- you got the feeling that you were part of group of giants. That’s exactly what they were." -Will Eisner (on his new book, SHOP TALK, 2001)



Above photo: Original artwork from Will Eisner’s THE SPIRIT.

Words from Will Eisner...

Above: Comics legend and teacher, Will Eisner.

Will Eisner was always a wealth of information. Many members of P.I.C. were once students in Will’s ‘Sequential Art’ class at the School of Visual Arts.

And, years later, I continue to learn from Will Eisner. Recently, I was reading the "Cartoonists as Prisoners" editorial in Kitchen Sink’s THE SPIRIT #25 (November 1986). Here, Will stated:

You have to believe in what you’re producing. You must produce it without embarrassment, in an unabashed way. You can’t deny the emotion within you.

Most of the really successful comic book and comics writers had to be honest and believe in what they were doing in order to produce good work. The similarity between Milton Caniff and Jack Kirby is they have a basic honesty and belief in what they are doing. It shows up in their work, and it’s a reason they’re successful.

That is powerful and encouraging.

I am, also, re-re-reading Dark Horse Books’ EISNER/MILLER that was published in 2005. This book is a vast tome of wonderful knowledge from Frank Miller and Will Eisner. I found this statement from Will very interesting:

[National Periodical Publications/DC Comics’ Harry Donenfeld] told the artists, as he told me, "Look, I can replace you." As a matter of fact, the artists working in the field in the late thirties and early forties would not talk to each other about their work for fear that they might be replaced.

I don’t think that the comics industry has changed much in that regard. A colleague once told me that the publisher that we were working for at the time frowned upon its freelancers talking to one another. I’ve written about this before in "When Creators speak out...". Don’t let anyone stifle your Free Speech. Speak freely.

Ink Plots reception…

Way back on October 14th, the School of Visual Arts held its reception for the Ink Plots exhibit. SVA instructors and alumni gathered for a few hours to meet, greet, and drink wine.

The exhibit had been held at the Visual Arts Gallery located at 601 West 26 Street, 15th floor, New York City. Ink Plots continued until November 6, 2010.

The following photos of the Ink Plots reception were supplied by Miguel (thanks, Miguel):



Above photo: Original artwork from Will Eisner’s A CONTRACT WITH GOD.



Above photo: P.I.C. buddies Stephen Scanlon (creator of PIPE DREAMS) and Miguel Martinez Joffre (creator of TICKLE ME SILLY).



Above photo: Original artwork from NIHILIST-MAN AND HIS AMAZING FRIENDS #1 by (penciler) Fernando Ruiz and (writer/inker) myself.

For more information concerning the School of Visual Arts’ Ink Plots exhibit, go here.



Above: Artwork from NIHILIST-MAN AND HIS AMAZING FRIENDS #1 by (penciler) Fernando Ruiz and (writer/inker) myself. The Ink Plots exhibit also featured ten pieces from NIHILIST-MAN AND HIS AMAZING FRIENDS #1 with artwork by Joe Staton, Fernando Ruiz, and myself.

The "Ink Plots" exhibit at SVA…

Above photo: Outside the School of Visual Arts.

This Fall, the School of Visual Arts (located at 209 East 23rd Street, New York, NY) is having an art exhibit focusing on comic book artwork by SVA alumni. Stay tuned for details.

Press release from the School of Visual of Arts:

Coming This Fall—Ink Plots: The Tradition of the Graphic Novel at SVA

October 9 - November 7, 2010
Visual Arts Gallery
601 West 26 Street, 15th Floor
New York City

It’s been three decades since legendary cartoonist and former SVA faculty member Will Eisner coined the term "graphic novel," and since then the format has grown steadily in popularity and critical acclaim. The graphic novel’s success is especially noteworthy as other print media have struggled for an audience in the face of blogs, Facebook pages and iPhone apps. Curated by Marshall Arisman, chair of the MFA Illustration as Visual Essay Department, and Thomas Woodruff, chair of the BFA Illustration and Cartooning Department, this exhibition of published works and original art by SVA alumni helps explain the format’s enduring appeal.

Stay tuned for information on events planned in conjunction with "Ink Plots," including a benefit to establish a scholarship fund for cartooning and illustration students.

ECHO news...

Above: Cover to ECHO #1 by Terry Moore.

VARIETY is reporting that Hollywood producer Lloyd Levin (WATCHMEN and HELLBOY) has optioned Terry Moore’s ECHO. ECHO is also nominated for an Eisner Award for "Best new series." Congratulations go out to Terry for both the Eisner nomination and the film deal.

Here’s what Terry had to say:

It's official: Movie deal for Echo with Watchmen producer Lloyd Levin!



Above: Artwork from ECHO #1 by Terry Moore.

A while back in the letters column of STRANGERS IN PARADISE #78, Terry Moore gave a nice plug to my and Brandon J. Carr’s The Kenmore/Nihilist-Man team-up story (see below). The team-up first appeared as a webcomic, and then saw print in NIHILIST-MAN AND HIS AMAZING FRIENDS #1. It looks like Nihilist-Man enjoys reading STRANGERS IN PARADISE, as well…



Update: Terry Moore blogs about the ECHO movie.

You can call me Al…

The P.I.C. interviews continue with Al…



P.I.C. News: Where are you?
Al Nickerson: New York.

P.I.C. News: What are you doing?
Al Nickerson: I’m drawing comics and writing about comics.

P.I.C. News: What’s new?
Al Nickerson: Not much. Still drawing comics and writing about comics.

P.I.C. News: What book(s) are you reading now-a-days?
Al Nickerson: "Prince of Stories: The Many Worlds of Neil Gaiman" by Hank Wagner, Christopher Golden, and Stephen R. Bissette.

P.I.C. News: What comics are you reading now-a-days?
Al Nickerson: INVINCIBLE, JACK STAFF, ATOMIC ROBO, and BUFFY THE VAMPIRE SLAYER: SEASON EIGHT. Many comics stink of poo, but these books are very much worth reading. There are still some great comics out there.

P.I.C. News: What music are you listening to?
Al Nickerson: Delirious?, BarlowGirl, and Rebecca St. James. Nothing new there.

P.I.C. News: What was the last good movie that you saw?
Joel Adams: STAR TREK was entertaining.

P.I.C. News: What movie do you never get tired of watching?
Al Nickerson: BLADE RUNNER. BLADE RUNNER: THE FINAL CUT is absolutely amazing! Oh, and THE PASSION OF THE CHRIST, too!

P.I.C. News: Who is your favorite hero?
Al Nickerson: Captain Marvel! The original… ya know, the "Big Red Cheese."

P.I.C. News: Who is your favorite villain?
Al Nickerson: That would be Magneto. Magneto isn’t just a one-dimensional villain. Yeah, he’s bad. Yeah, he believes that Homo sapiens superior (mutants) should run things, and that he should be the one to rule the mutants. Magneto is motivated by his politics… warped as they may be.

P.I.C. News: Who would win in a fight between Batman and Captain Kirk?
Al Nickerson: I would go with Batman. Although, if Kirk were commanding the USS Enterprise, he might have a chance.



Above photo: Al hanging out in Bucky’s dorm room at Sloane house. School Year 1987-1988.

P.I.C. News: What is your favorite Sloane House and/or SVA memory?
Al Nickerson: The School of Visual Arts college days were tremendous fun. I don’t know if I have any one particular fond memory of those times. But, many moments do come to mind… Will Eisner’s ‘Sequential Art’ class, (the great) Sal Amendola’s ‘Cartoon Workshop’ class, the Ghost’s Free Pizza Party, drinking at Twin’s Pub, Pro chasing Korn with a fire-extinguisher, trying to put a drunken Sean into the elevator, the P.I.C. gang dressing up like Korn, using white tape to divide my half of the dorm studio from Pro’s half, reading comics in Scan’s Corner, "borrowing" from Pro’s bucket of pennies during a game of poker…

P.I.C. News: Where do you want to be in ten years?
Al Nickerson: Well, if I’m not in Heaven by then, I’d like to still be making comics.

P.I.C. News: Is there any other news that you would like to share with the rest of us?
Al Nickerson: Keep reading P.I.C. News!



Above photo: Moments before Al’s baptism on April 1, 2007. Al is the handsome fellow on the right.

SVA & Will Eisner...

Above photo: Original artwork from Will Eisner’s THE SPIRIT.

I received the latest issue of the VISUAL ARTS JOURNAL today. The publication is produced by the School of Visual Arts and offered to it’s alumni every six months. Over the years, the VISUAL ARTS JOURNAL has been leaning too much to the Left for my tastes. However, this Spring 2009 edition actually has something of worth in it… an article on SVA cartooning instructor and Godfather of comic book storytelling… Will Eisner.

Even though it seemed kinda brief (considering Will’s lengthy career), I still enjoyed the article, "Enduring Spirit: Will Eisner." It focused on Will’s teaching at SVA and his work in comics. I especially enjoyed the article’s photos of Will’s THE SPIRIT artwork. Man, that’s some slick art!

Will Eisner’s classes were a highlight for me at the School of Visual Arts. I can say this with a certain amount of confidence… Will Eisner is greatly missed not only by those that tutored under him, but by the rest of comic’s community, as well.

Anyway, if you attended the School of Visual Arts, or even better, were a student of Will Eisner, then you should contact SVA’s Alumni Affairs Office (212-592-2300 or alumni@sva.edu) for a copy of the newest installment of the VISUAL ARTS JOURNAL… if not just for the Will Eisner article.



Above: Excerpt from the latest VISUAL ARTS JOURNAL.

Update: You can read the article online.

"Who Really Created Spider-Man?"

A while back, my pal D.J. Coffman and I had a friendly discussion about who actually created Spider-Man. I found this topic very interesting, and started doing some research which eventually ended up becoming the following article…

Many comic book fans have heard of the story of where, one day in 1962, Stan Lee saw a fly crawling on a wall which inspired Stan with the idea of a teenage super-hero possessed with spider-like super powers. Thus, Stan had his Spider-Man character. Stan Lee first gave the Spider-Man idea to Jack Kirby to illustrate. Kirby designed his own Spider-Man, and even drew several story pages featuring his version of the character.

According to an interview from STAN LEE’S MUTANTS, MONSTERS & MARVELS (2002) dvd, Stan Lee didn’t think that Jack Kirby’s vision of Spider-Man was what he had in mind. Lee thought Kirby’s version of Spider-Man looked too bold, muscular, and heroic: "’Nah, that’s not what I want, Jack.' I said, ‘Look, forget it. I’ll give it to someone else.’ So Jack said, ‘fine.’ It was nothing. We didn’t think that Spider-Man meant anything. And Jack had a million other things to do. So I said, ‘I’ll get somebody else.’ [Jack] said, ‘Sure.’ I thought Steve Ditko would be perfect for it. He drew people that looked like the kind of people you’d meet in the street, you know? So I gave it to Steve. And, oh man, was I ever right in picking Steve. He did a beautiful job."

In his book, KIRBY: KING OF COMICS (2008), Mark Evanier suggested that Marvel Comics may have had other reasons to give Spider-Man to Steve Ditko. Evanier proposed that Marvel may have felt that Jack Kirby’s Spider-Man seemed too similar to Kirby and Joe Simon’s previous creation, the Fly: "What would explain it all is if someone at [Marvel Comics' founder Martin] Goodman’s was worried that what Kirby was doing was coming out too much like the Fly."

Either way, Stan Lee went to Steve Ditko with Spider-Man. Ditko designed the Spider-Man character as we know him today. With Stan as editor and writer, Ditko became the artist and co-plotter on Spider-Man’s first appearance in AMAZING FANTASY #15 (1962), and then onto the following AMAZING SPIDER-MAN comic book series. Accordingly to "Steve Ditko- A Portrait of the Master" from COMIC FAN #2 (1965), Ditko explains things like this: "Stan Lee thought the name up. I did costume, web gimmick on wrist and spider signal."

In an open letter from 1999, Stan Lee wrote: "I have always considered Steve Ditko to be Spider-Man's co-creator. Steve's illustrated version of Peter Parker/Spider-Man and his coterie of supporting characters was more compelling and dramatic than I had dared hoped it would be. Also, it goes without saying that Steve's costume design was an actual masterpiece of imagination. Thanks to Steve Ditko, Spidey's costume has become one of the world's most recognizable visual icons."

In Jonathan Ross’ documentary, IN SEARCH OF STEVE DITKO (2007), Stan Lee appears (for the most part) to continue to acknowledge that Steve Ditko is the co-creator of Spider-Man: "Steve [Ditko] definitely felt that he was the co-creator of Spider-Man. And that was really, after he had said it, and I saw that it meant a lot to him, that was fine with me." However, deep down, it appears that Stan might have some reservations: "I really think that the guy who dreams the thing up created it. You dream it up and give it to anybody to draw it." Still, it’s nice to see that Stan Lee was willing to give credit where credit was due, even if he might, deep down, disagree: "I’m happy to say I consider Steve to be the co-creator [of Spider-Man]."

Now, there are some people who have disputed the fact that it was Stan Lee who actually created Spider-Man. Jack Kirby had once stated that it was he that had pitched his and Joe Simon’s the Silver Spider/Spiderman idea to Stan Lee. If true, this would mean that it was Jack Kirby, not Stan Lee, who first invented Spider-Man for Marvel Comics. WILL EISNER’S SHOP TALK (2001) reprints an interview taken in July of 1982 where Kirby claimed that he co-created Spider-Man, not Stan Lee. Kirby stated: "Spider-Man was discussed between Joe [Simon] and myself. Spider-Man was not a product of Marvel."

What does Mark Evanier think of Jack Kirby’s claim? Here’s what Evanier had to say to me: "I don't think we know, or have any way of ever knowing, if Jack suggested the idea of a Spiderman to Stan before Stan had the idea on his own."

I had asked Lisa Kirby (daughter of Jack and Roslyn Kirby) about her father’s connection to the creation of Spider-Man. Lisa told me: "Neither one of my parents ever mentioned that my father created him, in fact I have heard my mother correcting people if they alluded to that fact."

Where did Joe Simon’s Silver Spider/Spiderman character come from? According to Simon’s THE COMIC BOOK MAKERS (2003), Joe Simon had created his own Spiderman in 1953. He worked with Jack Oleck, his brother-in-law, on the script. Oleck suggested on calling the character "the Silver Spider" instead of "Spiderman." Simon then asked C.C. Beck (of Captain Marvel fame) to pencil the first few pages of THE SILVER SPIDER before pitching the idea to Harvey Comics. By the time Joe Simon went to Jack Kirby with the concept, he had decided to call the character "the Fly" instead of "the Silver Spider." Simon told Kirby: "C.C. Beck is out of the business. We’re doing this over. Same script, only we’re calling him the Fly instead of Silver Spider." Joe Simon and Jack Kirby reworked the character to become the Fly as a property for Archie Comic Publications.

It is also noteworthy to point out that Joe Simon had asked Jack Kirby about his WILL EISNER’S SHOP TALK comment. In THE COMIC BOOK MAKERS, Simon asked Kirby why he would make a claim that Joe was "Spider-Man’s father", and according to Simon, Kirby told him: "I had no work… I had a family to support, rent to pay… what else could I do?"

It appears that Jack Kirby was indeed in possession of the SPIDERMAN logo that Joe Simon created. Again, from THE COMIC BOOK MAKERS, Joe Simon states that "[Stan] Lee called Kirby in and asked him if he had any comic characters lying around that hadn’t been used. As I learned years later, Jack brought in the SPIDERMAN logo that I had loaned him before we changed the name to the Silver Spider."

Mark Evanier confirmed to me of the existence of a SPIDERMAN logo: "Jack definitely did have the SPIDERMAN logo that Joe Simon had designed. He showed it to me when I first met him."

So, who really created Spider-Man? Was it Stan Lee and Steve Ditko, or Joe Simon and Jack Kirby, or the combination of these men? So far in my research, my personal opinion remains that Stan Lee and Steve Ditko created the Spider-Man that we are familiar with today. It’s safe to say that Joe Simon did indeed create his own Spiderman in the early 1950’s. However, there doesn’t seem to be any substantial proof to support the idea that Jack Kirby later took Joe Simon’s Spiderman to Stan Lee. I could be wrong, though. With that said, I like to think that, ultimately, Spider-Man came into existence, and prospered, through the efforts, of not just one or two, but many comic book creators.

I’m sure there’s a lot more history about the creation of Spider-Man that I haven’t been able to delve into yet. The topic is so broad and heavy that I doubt that any one article can come up with all of the elements surrounding the origin of Spider-Man.

Finally, it's important for us to fondly remember all of comics’ writers and artists. We should not forget all of their contributions to an industry that we so much enjoy. I just wish that these creators were rewarded properly for all of their hard work and creativity. But, that's a whole different discussion.



Above: Artwork from the classic story "The Kid Who Collects Spider-Man" from AMAZING SPIDER-MAN #248 (1983) written by Roger Stern, penciled Ron Frenz, and inked by Terry Austin.


Text © 2009 Albert Gordon Nickerson Jr..

THE SPIRIT reviewed...

Beware!!! Some spoilers ahead…

After spending Christmas with the family, I jetted over to the theater to see Frank Miller’s THE SPIRIT film. This was probably one of the best-filmed (and best-directed) movies that I've ever seen. It’s absolutely beautiful to watch. And I did like the way the actors Gabriel Macht and Eva Mendes portrayed (respectively) Denny Colt and Sand Saref.

But, everything else about the movie stunk. THE SPIRIT film is not Will Eisner’s Spirit. It’s not even Jules Pfeiffer’s Spirit, nor any Spirit that I’ve ever read in the comics. This is Frank Miller all the way. The film is moody, the script is boring, much of the casting is lousy, and giving the Spirit super-healing powers (and making him, possibly, immortal) is just plain dumb. Miller should have just renamed the movie "MILLER’S GHOSTLY CRAP" or some such because THE SPIRIT is not the Spirit.

I figured I’d comment on THE SPIRIT film since many P.I.C. members had had Will Eisner as a teacher at the School of Visual Arts. I am interested to know what everyone else thought of the film. Being a fan of the Spirit comics (and a fan of Frank Miller’s comics), I really wanted to enjoy THE SPIRIT movie, but I just wasn’t able to do so.

P.I.C. lunch and trip to SVA...

Above photo: Virgil's Real Barbecue restaurant.

Yesterday, P.I.C. members, Martin, Sean, Scan, and myself, gathered for lunch at Virgil's Real Barbecue (located at 152 W 44th Street, New York, NY). I had the Pulled Chicken, which is always quite tasty.



Above photo: Outside the School of Visual Arts.

Afterward, Scan and I took a walk down to the School of Visual Arts (located at 209 East 23rd Street, New York, NY). SVA is our old college… the place where, over twenty years ago, P.I.C. first became P.I.C.. We walked right into the main building on 23rd street. Even though I had my SVA alumni I.D. card, I was concerned that security would stop us, but, fortunately, they didn’t.

Scan and I went up to the second floor, and relaxed in the student lounge (now called "Moe’s Café"). In our college days, we used to hang out at the lounge between classes. Back then, the lounge was often times cluttered with portfolio-carrying-art-students, and surrounded by loud music and cigarette smoke. The juke box is gone, but the pool table is still in the same place. However, some knuckle-head decided to remove the booths and replace them with small tables and chairs. The lounge looks more like a trendy café then the college lounge that I remember (stupid Moe). Still, the visit to the student lounge brought back a lot of memories.



Above photo: Sean having a smoke in a classroom at the School of Visual Arts. School year 1986-1987.

I wanted to find the classroom where we once attended Will Eisner’s ‘Sequential Art’ class. It took us awhile. Scan and I couldn’t remember exactly which floor the classroom was on (the six floor, by the way, in room 605). I peaked through the door, and noticed a class in session. I then tried to pull the room number off of the doorway (as a souvenir, of course), but it wasn’t about to freely come off. On my text visit, I’ll be sure to bring a crowbar.

Scan and I continued to roam around SVA’s main building. We visited the Amphitheater on the 3rd floor, where we once attended the ‘History of Animation’ class. We checked out photographer Sheila Metzner’s exhibit on the first floor gallery. And we stopped at CAVA, SVA’s computer store next door.



Above photo: Taken in a classroom at the School of Visual Arts. (Left to right) Mitch and (comic book legend and SVA instructor) Gene Colan. School year 1986-1987.

One striking difference that I had noticed during our visit was how clean everything now looks at SVA. Back in the day, the walls of chipped paint were covered with scuff marks, small amounts of graffiti, and numerous flyers (check out the two photos above from yesteryear). Back then, I used to complain about the sorry state of the classrooms: "We’re paying a ton of money for tuition! How come they can’t buy a can of paint!?!" Now, SVA looks too clean, too tidy. I miss the untidiness of the old days.

Update: P.I.C. member, Scan, has also blogged about this day’s events, as well, with "My New York Day".

My 2008 Eisner Awards ballot...

Tomorrow, I’ll be mailing out my ballot for the 2008 Eisner Awards. Sadly, NIHILIST-MAN AND HIS AMAZING FRIENDS #1 wasn’t nominated for "Best Graphic Album-Reprint." Still, I am pleased that BUFFY THE VAMPIRE SLAYER: SEASON EIGHT was nominated for the "Best New Series" and "Best Continuing Series" categories. ATOMIC ROBO was nominated for "Best Limited Series." All of which I had voted for. For "Best Digital Comic", I wrote in "Lethargic Lad."

The Eisner Awards!

I submitted NIHILIST-MAN AND HIS AMAZING FRIENDS #1 to the 2008 Will Eisner Comics Industry Awards. Since almost all of the stories in NIHILIST-MAN AND HIS AMAZING FRIENDS #1 have been published in other books prior to 2007, the comic is only eligible for the "Best Graphic Album-reprint" category.

I’m already writing my acceptance speech. :)