I’ve blogged here before about one of my favorite cartoonists, Howard Chaykin. On September 19, I had the opportunity to see him speak at a class on comics that was open to the public at the Art Center College of Design, a lovely campus nestled in an upscale residential area in Pasadena, CA, next to the Rose Bowl. Chaykin spoke at length about his career and the craft of creating comics.
Known for speaking his mind, Chaykin did not disappoint—but he was also charming, blunt and straightforward about the realities of working professionally in the creative arts/entertainment/comics field, which no doubt was of interest to the students in attendance. (About half the audience were students, the rest fans (and friends) of Chaykin like myself.)
Chaykin is a unique presence in comics because, as he points out, he falls in a gray area of the market that is not mainstream superhero comics per se but not truly alternative either—a trait I feel my work shares as well. He also often likes to claim that he’s never considered himself as naturally talented or technically gifted as many of his peers—as such, to compensate, and the fact that he has to compete against people much younger than himself (during the talk, he often humorously pointed to the students in the audience when making this point), he said he works his ass off and also periodically reinvents himself every few years so as to avoid being typecast or stale.
As a result, Chaykin has enjoyed a diverse, steady career and living—47 years, including a 15-year detour into television, which he said provided him with the financial safety net to work in comics. He mentioned that he was happy with where he was at this stage in his career because he gets to work on his own projects that have meaning for him.
While the event focused initially on some of his more iconic work, such as American Flagg!, Chaykin made clear that he was equally proud of his current work; the presentation did eventually turn into an overview of his career from Star Wars (work he doesn’t feel highly about, noting that it was released just a little before the royalty system at Marvel Comics was established, which he estimates could have netted $3–4 million) to Flagg, Time Squared (which he referred to as his favorite, most personal work), Black Kiss, to his more current work, including Divided States of Hysteria and Hey, Kids! Comics!
When Chaykin also touched on the subject of comics craft and storytelling, he was very thoughtful and insightful. He talked about his love of graphic design and patterns (which is indeed one of his great distinctive strengths), noting at one point how small panels often served as an exclamation point to stop the reader in their tracks. He also spoke about some of the innovations he introduced to the “language” of comics, which he believes he hasn’t always been given full credit for, which I believe is an accurate assessment. While I don’t entirely agree with his assertion that most comics readers are unaware of his work, Chaykin in many ways is indeed a classic “artist’s artists” who has influenced many of the cartoonists who have followed.
His talk was followed by an extensive Q&A. Afterwards, I had him kindly sign a Flagg trade paperback collection I had brought along for that purpose. I reminded him that I had recently done a Rob Hanes Adventures cover that was inspired by the first issue of Flagg (which he saw on Facebook) and we had been introduced years ago by a mutual friend—he was kind to say he did remember me. When I said I was sure everyone knew the inspiration for my cover, he responded with a sardonic chuckle, "Were you listening to my talk?", referring to the lack of awareness most mainstream comics fans have for his work.
This is being posted a bit late since the exhibitions discussed below are now ended, but the museum is of course still worth a visit — visit their website for information about their current shows.
I finally got around to visiting the new Wende Museum of the Cold War, now located in a beautifully refurbished facility in Culver City, California that was formerly a National Guard Armory.
As the museum’s name implies, the Wende’s mission is to “preserve Cold War art, culture, and history from the Soviet Bloc countries, inspire a broad understanding of the period, and explore its enduring legacy.” It's a collections-based research and education institute.
The exhibition I saw that concluded in late August was titled, “Promote, Tolerate, Ban: Art and Culture in Cold War Hungary.” Hungary, it turns out, was a slight outlier as a Soviet satellite. While the 1956 Revolution temporarily gave hope for some freedom, the Soviets quickly moved back in, resulting in many deaths and executions on both sides during this explosive period. Nevertheless, the Revolution led to the installation of a new Soviet-approved leadership that allowed a measure of “freedom” for people (at least relative to other Soviet satellites) so long as there was a tacit acceptance of Soviet authority. More freedoms came in 1968 when free-market elements were introduced into the economy. The exhibition explores how these limits were often pushed and tested by art, artists and the people. It was particularly fascinating to see how 1960s designs made their way East and how their innovative work sometimes were adapted in the West (the Rubik’s Cube was invented in Hungary in the ‘70s).
An accompanying, smaller exhibition running concurrently is “Socialist Flower Power: Soviet Hippie Culture,” tracing how hippie culture, with its origins in the U.S., and particularly Haight-Ashbury in San Francisco, spread to Europe, the Eastern Bloc and the Soviet Union. The most amusing anecdote in that section is the fact that at first the controlled Soviet press loved giving hippie culture plenty of coverage because it underscored how youth in the West were rising up against the establishment and, no doubt, to underscore the excesses of the bourgeois—at least until they discovered their own youth had become entranced by and embraced the lifestyle too!
The Museum includes additional areas for scholarly research and their permanent collection, such as Cold War artifacts like spying equipment, Communist dinnerware, busts of Stalin and Lenin, books, toys, etc. There is a garden in back, that was still under construction when I visited, where reportedly some sections of the Berlin Wall will be sited (at the moment, I am aware some already exist by the L.A. County Museum of Art, some of which I believe are being moved to the Wende.)
It’s a beautiful space and if you’re in the area, visit! Note that public visiting hours are limited and while there is no entrance fee, donations are welcome. Visit the Museum’s website for details.
Every year the Fashion Institute of Merchandising and Design (FIMD) in downtown L.A. holds an exhibition of Emmy nominated costumes (they also do a separate exhibition for Academy Award nominated costumes).
My wife and I visit the exhibitions nearly every year and this past weekend saw costumes from Black Lightning, Star Trek Discovery, GLOW, Marvelous Mrs. Maisel, The Crown, Orville, Games of Thrones, Westworld, and more! Thru Oct. 6 -- fidmmuseum.org.
Rob Hanes Adventures #19
Inspired by the era of fake news, the series goes in a startling direction as Justice International is nationalized by the federal government and Rob soon finds himself in the middle of political intrigue as terrorists attempt to detonate a dirty bomb in Europe.
Full color cover • 20 b&w pps • $3.99
Rob Hanes Adventures, Vol 2.
Squarebound trade paperback collects issues 5–8 of Rob Hanes Adventures Full color cover • 116 b&w pps • $10.99
This year’s San Diego Comic-Con (SDCC), held July 19–22, 2018, had already promised to be personally special since, a few months prior to the show, much to my great surprise and honor, I was invited by Comic-Con International (CCI) to attend as a Special Guest.
And while being selected for such a distinction was already an amazing honor and went way beyond what I could have ever dreamed, SDCC still managed to top this recognition by surprising me with an Inkpot Award for Contributions to Comic Art—a recognition CCI gives to individuals "for their contributions to the worlds of comics, science fiction/fantasy, film, television, animation, and fandom services." Filmmaker Kevin Smith received one this year the day after me, as did several others, including Star Trek actress Nichelle Nichols, cartoonists Jason Lutes and Shannon Wheeler, comics publisher, editor and critic Eric Reynolds, and comics historian (and friend) R.C. Harvey. Many comics greats like Stan Lee and Jack Kirby, as well my idols, including Milton Caniff and Alex Toth have received it over the years, as well as prominent creative artists like Steven Spielberg and George Lucas. So I'm certainly in good company to be included among such a diverse, esteemed list of people! (For a full list of Inkpot recipients over the years, go here.)
This journey—from a fan attendee in 1986, to a zine/small press/indy publisher in the early 1990s, to the honor of being a special guest and Inkpot Award recipient in 2018—goes way beyond what I could ever have imagined what my younger self, as an aspiring cartoonist, could have ever imagined possible.
For these reasons, this year’s Comic-Con was particularly significant, and one, of course, I’ll always remember.
21st Exhibitor Appearance
As I announced before the show, this year marked my 21st appearance at SDCC since 1993 and my 15th consecutive since 2004. I debuted issue 19 of my indy comic-book series, Rob Hanes Adventures, at the show as well as a new trade paperback, Rob Hanes Adventures, Vol. 2, that collects issues 5-8 of the series. I also introduced a new bookmark giveaway and ordered a new bunch of pin buttons for the show which are always popular.
While I’ve had Facebook and Twitter accounts for several years, being the dinosaur I am, it wasn’t really until this year that I started learning to be more proactive and have fun on my social media accounts, by interacting with others and posting live during my appearance at SDCC.
Spotlight Panel and Inkpot Award
As a Special Guest at this year’s SDCC, a spotlight panel was scheduled for me on Thursday, July 19, at 12:30 p.m. in Room 4. I must admit I was a bit nervous by the prospect, primarily because I wondered who would show up! SDCC gives its guests some flexibility on what to plan for the hour--to somewhat broaden interest in the panel, I prefaced the panel title, “Adventures in Self-Publishing: Spotlight on Randy Reynaldo.” I also asked a longtime comics industry friend and colleague—Barry Gregory, CEO of Ka-Blam Digital Printing—who was also exhibiting at the show (under Gallant Press) and knew my work well, to serve as moderator to help share the load with me. Barry turned out to be a great panel partner!
Though there wasn’t much time to promote the panel during the show itself since it was on the first day of Comic-Con, I nevertheless printed up some promotional postcards and shared some with Barry to distribute at his booth (Gallant Press) and with his wife, Jenni Gregory (Dream Walker Press), who had her own booth at SDCC. In retrospect, I’m glad the panel was Thursday so that I got it out of the way quickly, giving me an opportunity to savor the experience for the remainder of the show!
Prior to the show, Barry and I exchanged some messages a few times to talk about plans for the panel and found we were on the same page. (Barry has served on panels before but this was his first time at SDCC.) I also put together a few slides to provide visual interest and samples of my work.
Maggie Thompson spotlight panel with, from left, Mark Evanier,
Thompson, R.C. Harvey, and Scott Brick
I have to admit I had some nerves that morning and, partly to calm myself, attended a panel focusing on fellow Special Guest Maggie Thompson and the Comics Buyer’s Guide (CBG) that was scheduled at 10:30 a.m. in the same room as my own panel. Since I am at Comic-Con to “work,“ I rarely attend panels during SDCC, but this was a spotlight I was interested in attending and had tweeted about prior to the show.
The panel was terrific, a great look back at the CBG, which back in the day before the internet, was the best gathering place for comics fans outside of attending a comics convention like SDCC. Joining Maggie on the panel were comics/tv/animation writer and producer Mark Evanier, cartoonist and comics historian R.C. Harvey (an Inkpot recipient himself this year), and former Wizard Magazine and CBG writer Scott Brick, now a preeminent audiobook narrator and, full disclosure, a longtime personal friend dating back to our college years at UCLA. By the way, Scott is also a bonafide comics fan, his knowledge in many areas far surpassing my own!
During Maggie’s panel, I was surprised by the number of shoutouts, from Maggie (who recognized and waved to me when I entered the room); R.C. (who did too, as well as plugged me and my book during the panel); and Scott, who has always been generous in crediting me for getting his first writing gigs at Wizard and the CBG, as well as into audiobook narration—I am always quick to note, however, that once he got his foot in the door, Scott’s talent carried him the rest of the way. (Scott is also regularly called upon by SDCC to moderate panels.) When it ended, Maggie called out to me, asking if I was up next, but I responded from the audience that it was in another hour.
In any case, being in the room and watching the easy conversation of the panel did the trick in calming my nerves.
An hour later, I made my way up to the room for my panel, joined by my family and several friends. When I walked into the room, I have to admit I was a bit surprised by the turnout!
As we were setting up, a representative from Comic-Con introduced himself and proceeded to the podium to introduce the panel, providing a brief description of my history and comics--which segued into the surprise presentation of the Inkpot Award!! (Barry, my moderator, had been warned about it about a minute before!)
I have to admit I was shell shocked by the announcement and a bit overwhelmed and speechless as I was handed the award and the applause of the room washed over me, as photos were taken. While I do not recall having the presence of mind to give any kind of “acceptance remarks,” I want to say for the record what a great honor it is to have been recognized in this way. (Postscript: My wife assured me that I did give some "acceptance" remarks—I guess I just forgot given how much a blur the experience was!)
I have been half-joking that the recognition is for sheer stubbornness—of course I cannot speak for the selection committee, but I like to believe the award is partly a recognition of my commitment to consistently producing an independent comic-book series year-in and year-out and exhibiting at SDCC for so many years that is rooted in the classic adventure comics tradition. Rob Hanes Adventures has always been a labor of love, and I’ve been happy to toil away on it within my tiny little corner of the field, but having the work honored and recognized in this way by CCI and my peers of course goes way beyond whatever recognition I could have ever dreamed!
Below: Video of the 9-slide slideshow presentation used at my spotlight panel
The panel itself went fairly well and we received enthusiastic feedback and response. Many people who attended the panel—many of whom were not familiar with the series—later stopped by to say hi, tell me how much they enjoyed the panel, ask questions, and make purchases. (My 13-year-old son was surprisingly particularly effusive and proud of his old man!)
And as I mentioned earlier, Barry turned out to be an outstanding moderator and panel partner—though I had no trouble talking about myself or the series once I got started, he always had a question ready to throw out when I had exhausted myself with anecdotes. I was impressed by the depth of his questions, confirming he really is a fan of the series! I can think of no better compliment than the fact that Scott Brick, an old hand at moderating these panels, also said Barry did a terrific job. I was glad when Barry told me he had a lot of fun too.
As one can imagine, I returned to my table on a high and Barry and I had a nice lunch afterwards (on me!). It was a wonderful experience I’ll always remember and it was a thrill to be able to display my Inkpot at my table during the show, which many random people recognized and congratulated me on.
Nichelle Nichols and Phil Lemarr at the Eisner Awards
The Eisners
As a Special Guest, I also was invited to attend Friday evening’s Eisner Awards, often called the “Oscars” of comics, as a VIP guest among the nominees and honorees of the evening. Held at the Hilton San Diego Bayfront, right next to the San Diego Convention Center, it had been many years since I last attended a ceremony, though I am aware it has become a bit of a star-studded event,
While the ceremony ran long, as such awards show invariably do, the evening was nevertheless enjoyable and memorable--keeping up the star-studded nature of the ceremony, presenters included entertainment industry folks like Nichelle Nichols, Phil Lemarr (who served as the de facto MC), Leonard Maltin, Benedict Wong, and Helen Slater alongside comics industry luminaries like Sergio Aragones, Bill Morrison, Scott McCloud, Dave Gibbons, and Mark Evanier. The ceremony was genuinely moving at times—the event turned out to be a great celebration of diversity in comics, with a record number of women honored and recognized during the evening. Ats I mentioned to my tablemates, there were a lot of comics among the nominations I needed to check out!
Eisner Award winner Nick Sousanis
I also joked that we were at a lucky table—two of the winners sat at my table, Shannon Wheeler and Nick Sousanis for “A Life in Comics: The Great Adventures of Karen Green.”
The Show Overall
Many observed that this year’s show seemed a bit mellower than usual—for various reasons, sometimes having to do with production timing, a lot of Hollywood’s big guns did not have panels, with big fan draws like Marvel Studios, Game of Thrones and Westworld absent. And though fan-favorite franchises like DC, Doctor Who and Walking Dead were all in the house, many remarked at how much more accessible many of the panels were, including the infamous Hall H. (I saw several tweets throughout SDCC posting pics of non-existent lines outside the hall to get in.) Every day—including the Wednesday Preview Night—seemed equally crowded; on the other hand, the observation has been made that the new RFID badge system introduced a few years back has greatly reduced the number of pirated badges and played a role in the reduced crowds.
While some have sometimes complained about how the entertainment industry has predominated Comic-Con, as I and others have noted over the years, SDCC is a big umbrella for all things pop culture and it’s easy to make it what you want—as such, there is always plenty of comics programming if that’s your interest and usually those panels have no wait to get into. There were panels—often multiple—from all the major comics companies and most of the independents, as well as panels on individual cartoonists and legends living and past. The fact that there was a panel devoted to little old me—and the panel focusing on Maggie Thompson—is proof that plenty of comics programming can be found at SDCC and remains a core part of the show.
A continuing trend has been the declining number of cosplayers at Comic-Con, which I’ve noticed for several years now. While it’s possible many simply aren’t going by my part of the exhibition floor, others had the same observation. Some say that the difficulty of getting into Comic-Con and cosplayers moving to other venues have contributed to the decline. While there were still plenty to be seen, they have not been as dominant as in years past. As always, my favorite cosplayers are those that are clever or unexpected—this year, I saw a cosplayer from the film A League of their Own (pictured at left) and I’m glad that cosplay from The Life Aquatic with Steve Zissou continues to be a thing (see my photogallery).
Of course, it’s always fun to catch up with people—this year, this included cartoonist/inker Andrew Pepoy, Batton Lash and Jackie Estrada, cartoonist and comics historian R.C. Harvey, Sergio Aragones, Scott McCloud, Nat Gertler (celebrating the 20th anniversary of his publishing imprint, About Comics); cartoonist and storyboard artist Tim Burgard; and many others.
As I've mentioned in the past, SDCC has expanded its footprint beyond the convention center. Programming both official and not occur in the hotels surrounding the convention center and in "pop-up" fan experiences around the venue. In fact, it's quite possible to still soak in the atmosphere of SDCC without even having a badge. Outside the convention center there were pop ups for the television shows The Good Place and Jack Ryan, and many others.
The Disney theme parks are well known for having crowd management down to a science and I genuinely believe Comic-Con comes a close second. I’ve often told the story how I once was on a huge line for a shuttle back to my hotel and was convinced it would take about an hour or so to get on to a bus. Instead, I noticed that as soon as alert convention staff noticed this, they re-routed several buses to accommodate the line so my wait dwindled down to only as long as it took to load up the buses. I saw this happen repeatedly. Given the number of attendees and complex logistics, Comic-Con does a great job making things run smooth.
CCI holds a "talk back" panel at the end of every show so that they can hear directly from attendees about what worked and what didn't and often make adjustments in response to this feedback. This year, for the first time, SDCC during the main convention hours completely shut down the main road in front of the convention center, Harbor Boulevard (which is a major thoroughfare) to vehicles and made them primarily pedestrian walkways with access only for the shuttle pick ups and drop offs.
A Comic-Con to Remember
Comic-Con also invariably always results in memorable spontaneous moments:
Dinner at a new Russian restaurant in the Gaslamp and being seated nearby another larger party that included Fantagraphics publisher Gary Groth and Love and Rockets cartoonist Gilbert Hernandez
Having cartoonist Scott McCloud stop by my table to say hi and, after the conclusion of the convention on Sunday, bumping into him in a restaurant in the Gaslamp where both our families were having an end-of-Comic-Con dinner.
A nice, leisurely lunch with my panel moderator, Barry Gregory, to celebrate our successful panel discussion.
Stumbling across a booth (picture above) of a Russian comics publisher.
Celebrating the Inkpot Award with an enjoyable poolside dinner full of laughs at the Marriott Marquis Hotel Thursday evening with my old Comic-Con buddies, including my wife, my brother, good friend Bob, the above-mentioned Scott Brick, and college buddy Terry, who himself is a comics industry professional.
And, of course, making new friends and being visited by longtime supporters of the series (many of whom you'll see in the photogallery.
In any case, as one can imagine, this was of course a Comic-Con to remember. My family and I were well taken care of as guests and it's amazing to look back at this journey, starting as a fan attendee in the mid-1980s, to selling my zines and small press comics in the Small Press Area at SDCC in the '90s and '00s, to the honor of being invited as a special guest and presented with an Inkpot Award in 2018. It's certainly beyond what that attending fan in 1986 could ever have dreamed or imagined.
My profound thanks to CCI for the recognition and memories they gave me.
