Witterstaetter Writes

New Season-- New Banners for Eva Ink!

2012-02-01T20:29:00.000-08:00

Hey Ya'll-- I'll be posting our convention schedule within the week, but in the meantime, we are working on new banners for some of our crew, both veteran members and newcomers. Imprint these in your memory! :-)You'll be sure to find us at the shows.

Best,
Renee
R. Witterstaetter
www.evainkartistgroup.com

SPOTLIGHT: New Interview with RIC MEYERS

2012-01-20T21:20:00.000-08:00

New Interview with one of my oldest friends, Ric Meyers. He found me--as fate would have it-- at a Dallas Fantasy Faire when I was around 21 years old, suffering from food poisoning from bad Chinese food, and apparently foaming at the mouth, comatose, in the lobby of the hotel. According to him I was radiant...sitting in a shaft of light.

We've been friends ever since.

In addition to everything else, Ric is an incredibly prolific and insightful creator. He is now being booked by Eva Ink Artist Group for conventions, book signings and speaking engagements. Interview originally appears here: http://forums.jazmaonline.com/topic.asp?TOPIC_ID=4052

See Ric at a convention this year-- it's always fun and engaging to hear him discuss a myriad of subjects...just be smarter than me and avoid the all you can eat buffets.

--R.

(Writers Ric Meyers and Renee Witterstaetter, circa mid 90's, charity fundraiser for the Beardsley Zoo in CT.)

Ric Meyers
Author/Writer
Interviewed by: Richard Vasseur/Jazma VP
Posted: 20/01/2012

Rich: You wrote the first Incredible Hulk novel for Pocket Books. What was the story about, and how much input did you have in the storyline?

Ric: Bruce Banner goes to see the world's leading radiation specialist, only to witness the expert's abduction by agents from the African nation he defected from. Banner hopes the abducted doctor can save him from his Hulky curse, so he chases him, and all manner of mayhem and pathos ensues.
I wrote it some time ago, but, as near as I can recall, I had total freedom in the creation of the book. I believe the project was brought to me as a fait accompli by my literary agent. It was my understanding that Pocket Books wanted a published novelist to write this third book in the "Marvel Novel Series" because they weren't totally satisfied by the ones written just by comic scripters.

My agent thought it was a no-brainer: I had edited and written for Atlas Comics, was friendly with Kenneth Johnson, who ran the Hulk TV show, and had several published books, both fiction and non-fiction, on my resume.

I had a great time with the Hulk, and managed to squeeze in several things I had always wanted to do. All too often, I felt his transformation was initiated by fear or pain, so I wanted to put anger back at the forefront. I always felt that the Hulk was anger personified, not fear or pain personified. I also always wanted his change to be fast -- a veritable explosion of rage. So all that, and more, is in the book.

Rich:Why did you decide to write books about martial arts, and how did your interest in this develop?

Ric: I was hanging out at Larry Hama's office at Marvel Comics in 1978, complaining that producers always made comicbook movies or TV shows campy in some way. I had just come from the set of the Richard Donner/Chris Reeve Superman, which I was reporting on for Starlog magazine (ironically I finished the Hulk novel literally moments before I headed to the airport to start my extended Superman set visit).

Anyway, I wished there was a movie that took superheroes seriously, and Larry just said "Follow me." He brought me down to the now defunct Bleeker Street Cinema, where a matinee of Baby Cart in the Land of Demons, one of the greatest samurai movies of all time, was playing.

I was stunned with delight by that, but Larry said "We're not finished," and brought me immediately down to the now defunct Canal Street Cinema, where Drunken Monkey in a Tiger's Eye (aka Jackie Chan's Drunken Master) was playing.

Well, that astonished me, so I went to every book store and library to find out more about these things called martial art movies. Happily, there was Alain Silver's landmark book, The Samurai Film, to educate me about the Japanese side of the equation, but there was precious little about kung fu films, if anything, on any shelf.

By then I had already written several film books, so I went to one of my publishers -- the great Citadel Press -- and asked if I could write about martial arts movies. They said "sure," gave me the same deal as my previous book for them (The Great Science Fiction Films), and off I went.

Luckily, Ocean Shores Limited wanted someone to educate video stores about the kung fu films they hoped to import into America, and World Northal wanted someone to educate TV stations about the Shaw Brothers Studio movies they wanted to syndicate in the "Black Belt Theater" package they had created.

I was that weird guy at the right time with a book contract in my pocket, so they threw open their doors in both New York and Hong Kong. Much to my amazement and delight I was introduced to Jackie Chan only a few months after I had discovered him.

Rich:How does it feel to be considered an expert on martial arts films, and what unusual jobs has this led to?

Ric: Fine. One of the reasons I got to do things like the Hulk novel, the Dirty Harry book series, and other stuff like that is that I showed myself to be, one, someone who could actually finish the job in a professional (i.e., publishable) manner, and two, I really liked this stuff and could share my love with the reader in a, hopefully, engaging and entertaining way.

To do that, I had to, as much as possible, know what I was talking about, which has led to an on-going martial art education. In the more than thirty years I've been doing this, I've met thousands of martial art teachers, students, movie makers, actors, choreographers, and fans -- some of whom have been inspired by my enthusiasm.
One of the most influential of which was Jonathan Ross, who is occasionally considered the David Letterman, or even the Howard Stern, of England, who I met through one of his researcher's love of my book For One Week Only: The World of Exploitation Films. Although originally engaged to offer insights on the Herschell Gordon Lewis episode of Jonathan's The Incredibly Strange Film Show, I kept telling him about Chan and sending him Jackie movies.

So when it came time for The Son of the Incredibly Strange Film Show in 1988, Jonathan took me back to Hong Kong and made a Jackie Chan episode, which really led to Jackie's true breakout in America after two previous abortive attempts (The Big Brawl and The Protector [not to be confused with Tony Jaa's later film of the same, changed, name]).

Following that was a bunch of other fun stuff, like my column for Inside Kung Fu and Asian Cult Cinema magazines; creating cover copy, liner notes, and interviews for more than 300 international DVDs; teaching at colleges; and even doing kung fu seminars for the first Kung Fu Panda film and the subsequent TV series.

Rich:Who have you worked with or interviewed in the world of martial arts?

Ric: Well, geez, so many. Jackie, Jet Li, Donnie Yen, Gordon Liu, Lo Lieh, Wang Lung-wei, Kara Hui Ying-hung, Angela Mao, Sammo Hung, Yuen Baio, Michelle Yeoh, Linda Lee, Brandon Lee, Shannon Lee, Tony Jaa, Chow Yun-fat, Tsui Hark, John Woo, Stephen Chow, Lo Mang, Liu Chia-yung, Conan Lee, Aaron Norris, Michael Jai White, Tan Tao-liang, Cynthia Rothrock, Richard Norton, Ang Lee, Zhang Yimou, Stanley Tong, Simon Yam, Ronny Yu -- and that's just off the top of my head. There are a bunch more stunt people and others involved in the business as well.

Rich:I understand that you run a film program at the SDCC every year, what does this entail?

Ric: It's called the San Diego Comic Con Superhero Kung Fu Extravaganza, which I, and Frank Djeng, an exec at Tai Seng Entertainment, started some time in the late 1990's, and it's been going ever since.

Most of the time it's a three-hour, Thursday night event where I show the best action scenes from the previous year's martial art movies between giveaways (of posters, DVDs, or whatever) and special surprise guests.

Rich:Have you ever done any martial arts training, and if so, what type and what benefit have you seen?

Ric: When I started researching martial art movies, naturally I started researching martial arts as well. If I hadn't, it would be like a Chinese writer coming to the U.S. and doing a book about baseball movies without knowing how the game is played.

A good friend of mine ran the Philadelphia Judo Club, so I started there, but I noticed that no veteran student had full use of at least one major joint, so I continued my search elsewhere before that happened to me. Two more friends taught Jiu-jitsu in New York City, so I carried on with them.

Both techniques were cool and interesting, but nothing was helping me understand the styles in my favorite kung fu films. Also, I ran into the American martial art mentality, which is on full display in films like the original Karate Kid and The Fist Foot Way. It's generally known as McMartialArts, or "nothing is worth having if I can't pay for it" or "it's worthless if I can't look badass, kickass or awesome."

So I just kept independent, casting a skeptical eye on teachers who hurt their students, or said things that didn't add up, or demanded that I learn only from them. Then, in 2002, I literally stumbled across the World Taichi Championships in Taiwan. There I met world heavyweight push-hands champion Stephen Watson, who, incredibly, had a school thirty minutes away from me in America!

"When the student is ready, the teacher will appear," he told me with a smile. Well, he was the greatest teacher I ever met, and before long, he started introducing me to his teachers and peers, like Rick Barrett, Don Ethan Miller, Willem De Thouars, and Avi Schneier. On that same Taiwan trip, I also met Lee Feng-san at the Meiman Qigong Culture Center in Taipei. Google and/or youtube these guys. They are more amazing than you can imagine (how do I know? Easy. They were more amazing than I could imagine until I met, and learned, from them).

Through these gentlemen I learned, and am still learning, loads of helpful things for my body, mind, and ego. As much as Stephe doesn't care about awards, he brought me to a fistful of tournaments where I collected a bunch of gold medals and trophies (the International Chinese Martial Arts Championship, the USA Wushu Kung Fu Federation National Championship, the International Chinese Martial Arts Championship, yada yada yada).
Meanwhile Master Lee taught me Pingshuai, what could be described as a personal form of Feng Shui. In other words, what authentic feng shui can do for the energy in your home, I've found pingshuai seems to be doing that for the energy, the "chi," in my body. When I started doing it in 2002, I was succumbing to many a sedentary writer's curse: bad back, bad knees, low energy, etc. Since I've been doing pingshuai daily, my legs and back have given me little or no problem, and I don't need any coffee or stimulants like that.

It's had some notable effects on other things, too. I used to get colds three times a year like clockwork. When I started playing Santa annually, I'd get sick as many as a half dozen times in six weeks. Now, for whatever magical reason, (but I think it's the pingshuai), I haven't had a full-scale cold in ten years. Go figure.

Rich:Who is The Destroyer and what about his character makes you like writing about him?

Ric: Ah! The Destroyer! The Destroyer was the second biggest selling men's adventure paperback series in the 70's and 80's (the top selling series was Don Pendleton's Executioner, who The Punisher was "borrowed" from).

The Destroyer's creators, Richard Sapir and Warren Murphy, wrote twenty-four amazing satirical thrillers in the series before they got tired. So Warren put an ad in The Westport News which read "Ghost Writer wanted. No glory, lots of money."

My father sent me the ad. By then, my comic and film book mentor, Jeff Rovin, had secured me some non-fiction book contracts, but I was anxious to try my hand at fiction. I answered the ad, and met with Warren, who eventually gave me the go-ahead to write a Destroyer novel (#25: Sweet Dreams).

"Was it because of the great writing sample I gave you?" I asked (a portion of a Sinbad the Sailor novel I was working on). "No," Warren answered. "That was crap. It was your cover letter. That was the best cover letter I ever read." Just goes to show, it pays to sweat the details.

Warren, like Jeff, was an amazing editor, and taught me more than I can remember. When I handed in that first Destroyer manuscript, he read it and said "The difference between you and me, kid, is that I know the names of the problems." I was in writing-student-heaven.

Then, as now, I never wanted anyone to pat me on the head and say my stuff was ok. Nor did I want someone to tear it up and say it sucked. All I wanted was someone who knew the names of the problems and would explain them to me so I could improve. I've been lucky to have several people like that in my life (including doctors and lawyers).

In any case, The Destroyer is Remo Williams, an ex-cop who was framed for murder and electrocuted -- only to wake up and be trained as a secret assassin for CURE, a "nonexistent" three-man agency that goes outside the constitution to protect the constitution. One man was the brains, Harold Smith, one, Remo, was the brawn, and one, Chiun, was Remo's teacher. Chiun, however, was the Korean master of Sinanju, the sun source of martial arts.

Already, what's not to like? Dick and Warren were brilliant writers, but they didn't know martial arts -- yet, they were so knowledgeable about life, that they kind of did (remember, the word "kung fu" actually means "human achievement," not martial arts). Instinctively, they had Remo doing things that seemed incredible to the casual viewer, but were totally in the realm of kung fu possibility.

But what made the series sing was the relationship between the ex-cop and the 100 pound, ninety year old Chiun, who would put a convention of Jewish mothers to shame. That was combined with the team's wonderfully layered plots, which were full of human touches and insight far beyond normal men.

Every book was a joy. I went on to write #27: The Last Temple, and #29: The Final Death (which introduced Chinese Vampires to American fiction) until I broke the unwritten law of ghost-writing. Apparently I wasn't supposed to proudly tell everyone I met I was writing the Destroyer. And I was especially not supposed to find and visit the artist, the great Hector Garrido, who painted the Destroyer book covers and get my own -- especially when Dick and Warren had never received one.

Rich:What was your contribution to the 60th anniversary issue of Detective Comics?

Ric: Actually I got the numbers wrong. In my pop culture travels, I had become friends with Batman writer/editor Denny O'Neill (as well as "discovered" future Batman artist Marshall Rogers, securing him his first professional assignment). Even so, I was gratified and honored when Denny asked me to contribute an essay for the 50th Anniversary Adventure, Blind Justice (Detective Comics issue 598).

In the essay, I differentiated the "superhero" -- a person who gets their powers from outside themselves -- and the "suprahero" -- a person who gets their powers from within themselves -- a delineation that has remained strong in my kung fu education.

Rich:What are your latest books that you have had published, the influences for them, the subject matter?

Ric: Taking a cue from movies, my latest books are reboots of some of my previous books. A publisher contacted me, asking if I wanted to do new versions of my two previous martial art movie books (Martial Arts Movies: From Bruce Lee to the Ninja and Great Martial Arts Movies: From Bruce Lee to Jackie Chan and More) as well as For One Week Only: The World of Exploitation Films. I did, so I did.

F.O.W.O.'s title remains the same, but the exploitation film genre as it once was is no more, so the book went from being a testimonial to a memorial. But, given that I was approached in 2008 to write a documentary about kung fu films, I took the opportunity to write a book on the same subject -- eliminating the samurai, ninja, karate, judo, muy thai, and taekwondo content of the previous works.

The result was Films of Fury: The Kung Fu Movie Movie (presently on Cablevision, Cox, Comcast, and Insight video on demand, and on DVD March 27th, 2012) as well as Films of Fury: The Kung Fu Movie Book, available on Amazon, among other places, as both a book and an e-book.

Rich:What do you have planned for the future, upcoming releases etc?

Ric: Presently, I'm working with Renee Witterstaetter and Little Eva Ink on a book about a certain jolly bearded fellow, using all the actual questions he's been asked over the last ten years. Right now it's called "Santa Confidential" and is illustrated by Chris Browne, the award-winning artist of the Hagar the Horrible comic strip as well a contributor to Playboy, The National Lampoon, and The New Yorker. It should be ready by holiday time.

I also appeared in two movies this year. I did a cameo as a heinous, but weirdly bearded, New York drug lord in a direct-to-DVD thriller called The Suppressor at the request of the great Ara Paiaya, and then, through Ara's arrangement, played a much more heinous, but more understandably bearded, terrorist in Black Day, a feature film made for the Iranian market (?!).

Quite an adventure. We'll see if they need me for any promotions, or even sequels.

Rich:Why have you used pseudonyms when writing books, and what are the benefits and negatives of this?

Ric: Well, I started as a ghost writer for Warren and Dick, but then was asked by Warner Books to try my hand at some Dirty Harry novels. Clint Eastwood had said that he wasn't going to do any more Harry movies, but Warners still thought they could make money off the character. Hence the book series.

Unfortunately, they felt they needed more than one writer to keep the quickly published books on schedule, so a "house name," Dane Hartman (notice the initials?), was created by the Warners editor. It's a long tradition, best exemplified by such pulp magazines/books as Doc Savage and The Shadow, as well as teen adventure series like The Hardy Boys and Nancy Drew. They also used "house names."

On the one hand, if you're not enthusiastic about the assignment, it's quick, if not easy, money. On the other, if you're honorable, it's annoying when your fellow authors let the seams show (in the first non-me Harrys they didn't even spell his last name right -- until I insisted upon creating a series "bible").

Then the chief editor of the "Men of Action" books, of which Dirty Harry was the crown jewel, knew of my martial art experience and asked me to take over the Ninja Master series, so I became "Wade Barker" for that. Ultimately, Warners gave me that entire series as well, resulting in two epic, solo-penned, tetrologies (Year of the Ninja Master and War of the Ninja Master). Eventually they even bequeathed me the sole ownership of the fake author's name.

Once I started down the "house name" path, my literary agent was happy to sell me to editors looking for someone quick and hopefully good. So I also became Bryan Swift for the Mac Wingate war series. By then I had done around twenty books, and saw the writing on the wall. I had too great a self-worth issue to write under pseudonyms for long.

The actual titles and numbers of the books I did in these series can be found on my website, ricmeyers.com, as are the science-fiction, fantasy, mystery, and horror novels I wrote under varying versions of my own name.

Rich:What is RIC Heavy Industries LLC and what do you do there?

Ric: That's just my limited corporation to serve as an umbrella for all that I do: writing, editing, consulting, and performing.

Rich:Which super-hero would you want to write a book about that you have not, and why, ie. what do you think you'd bring to the table that would be different and uniquely you?

Well, I've always loved Daredevil, because a lot of what Jackie Chan did in his Hong Kong films reminded me of Daredevil come-to-life, and also because Daredevil is blind the way Zatoichi, the legendary blind swordsman of Japanese cinema, is blind.

There's more than twenty-five films in the Zatoichi series, and they're all great. A main reason is because the films are ABOUT blindness. But not just the hero's sightlessness -- the villains are even MORE blind: blinded by hate, blinded by lust, blinded by power. It creates a dynamic that's engrossing and exciting.

If I could bring the same dynamic, content, context, and insight to a Daredevil book or script, along with my knowledge of martial arts, I believe they could be as great as a Jackie and Zatoichi collaboration.

Then there's Wonder Woman-- the female optimum and human embodiment of heterosexual hypocrisy. Or, as I occasionally put it: I'd love to treat you like a human being, but what do I do with these hormones?

I would really enjoy doing a 100% undiluted, both-barrels version of Wonder Woman. I'd have everyone react to her in the way they would actually react to such a goddess in real life. And I'd have her learn about human disingenuousness, desire, perversity, and pride from the way she's treated.

Being a goddess, she would not only be physically powerful, but mentally so as well -- using man's resentment, frustration, anger, and lust against them. Just imagine a seemingly submissive and naive stranger in a strange land who's actually the galaxy's greatest dominatrix with no neuroses, all that strength, an invisible plane, and a lariat of truth.

Rich:For a person as busy as you seem to be, how do you spend any free time you happen to get?

Ric: I've tried to organize my life so I can do for a living what I would do for free. As a writer and performer, human behavior and the world around it are all part of what I need to know to do what I do. Everything is research to me.

Besides, as soon as I find something I like, I find out more until I love it, and then I look for ways to share that love with others. I love eating, sleeping, thinking, writing, editing, acting, driving, swimming, flying, walking, taichi, qigong, shooting, shopping, movies, TV, theater, dance, music, reading, and friends.

So I don't distinguish between work and play, free time and busy time. It's all the same to me. As the great masters say: understand human nature, understand mother nature, understand your own nature, then you will know kung fu.

Rich:How can someone contact you?

Ric: ric4kungfu@gmail.com, and you can check out the websites: ricmeyers.com, www.filmsoffury.com, and www.insidekung-fu.com. Also I'll be on the Eva Ink website shortly at: www.evainkartistgroup.com

For booking me into conventions etc., please contact Renee Witterstaetter at: evaink@aol.com

Rich:Do you have any last words for all your fans, advice, directives?

Ric: Fans? I have fans?!

In any case, one of the things I now teach is what I call mental martial arts. After all, who's the one person Bruce Lee never defeated? Himself. So I try to help everyone, martial artists and non-martial artists, to not defeat themselves.

I start with two suggestions.

There may be many people who want to hurt you or hold you back. Don't be one of them.
And, love yourself at least as much as that which you say you love the most.
Then, of course, we get into what love is, and that's another story.

--Richard Vasseur

SPOTLIGHT: New Interview with DENNIS CALERO

2012-01-16T20:43:00.000-08:00

One of the newest fantastic creative talents to join Eva Ink Artist Group. We could not be happier to have Dennis Calero on board. Be sure to contact us regarding his signings, bookings, commissions and assignments.

Thanks to Richard Vasseur for the great interview!

--Renee Witterstaetter
Eva Ink Artist Group

Original Post Here: http://forums.jazmaonline.com/topic.asp?TOPIC_ID=4029

__________________

Dennis Calero
Writer/Penciler/Inker/Colorist
Interviewed by: Richard Vasseur/Jazma VP
Posted: 16/01/2012

Rich: You worked on "X-Men Noir: Mark of Cain" which X-Men did you illustrate here, and which were the most enjoyable and why?

Dennis: On both Xmen Noir (no hyphen) and the sequel, Fred Van Lente and I got the chance to reinvent some of our favorite X heroes as psychopathic criminals and had a lot of fun doing it. Gambit was particularly fun because our version is such a straight up bastard, sort of an extension of what's usually hinted at in the prime universe of books. My personal favorite though was Cyclops because no one caught on that he was using his supposedly glass eye (why he was called Cyclops in our world) to look through his sniper rifle scope!

Rich: Would you like to illustrate a X-title now and which one, and why?

Dennis: I seem to occasionally circle back to X-Factor, which is always fun and I have a special affinity with those characters, especially since I modeled all of them on me and my friends. Working with Peter David is always a fun challenge as well. I don't know if he counts in regards to the question, but I would love to do a Deadpool story.

Rich: You have written "Weapon X Noir" would you like to do more writing?

Dennis: Writing is such a distinct pleasure and Weapon X Noir was actually originally for someone else to draw (which is why there was so much detail in the circus scenes, which I was then mad at myself for!). But it was a real pleasure and I've written some material for entertainment and my own comics, and look forward to eventually doing more.

Rich: In the "JLA 80-Page Giant" which heroes and villains did you draw and did you have any favorites, and if so, why?

Dennis: I drew Batman and Plastic man go to Dante's Hell, essentially and it was such a strange and engaging duo of characters in this odd environment so I still don't feel I've really drawn a Batman story, per s�. Batman, to me, is Gotham the way that Kirk is the Enterprise, so to speak, and you can't really tell the story of one without the other.

Rich: While working on "Doctor Solar" what characteristics did your art bring out in him?

Dennis: I'm bummed that circumstances didn't allow me to draw more Solar and work with Jim Shooter more, but what little I did, especially that first alternate cover, was a straight up fan flare for Ivan Reis on Green Lantern and I hoped that with time that Dr. S could become the Dark Horse Green Lantern, but alas it wasn't to be. I've discovered reading about the careers of artists that I admire, as well as my own, there are always disappointments and missteps and things that just aren't to be.

I also wanted to slowly begin to bring out a sense of aloofness that I feel would be inevitable for a character like Solar, who really wasn't human anymore but maybe, for a little while, could fool others, and himself, into thinking he was. A little of Alan Moore's Miracleman there too.

Rich: You have worked on the "Darktower" comics based on Stephen King's books what look did you give to the story, and how did you decide on that look?

Dennis: I had the pleasure of drawing the illustrations for Robyn's backmatter, filling in the blanks on a lot of the world of Gilead and its history and thus privy to a lot of cool stuff like that, as a fan of the Dark Tower series, it was a thrill to find out a month ahead of the fans!

Rich: Are you a fan of Stephen King's writting, what are your options of the importance of his work, if so?

Dennis: I've read every published word he's written, and got to work on some cool BIG Dark Tower projects that I can't discuss. It was a thrill. I also may have an announcement soon further to this.

King is our Edgar Allen Poe, our mark Twain, and it's fascinating to me how public criticism of his work has evolved from simply dismissive, to aggressively negative to accepting to wildly positive. He is, with Jonathan Irving and others, one of the key voices of American literature right now. I'm reading 11/22/63 right now and really enjoying it. The DOME was also terrific and I highly recommend CELL.

Rich: How and why did you start Atomic Paintbrush?

Dennis: I started it because I was a young artist fresh out of college and needed a job! And computer color was then a new thing, just a few years old. In fact, I was the second person to computer color anything, an ad in my case, at Marvel. It was new and as a trained painter, I think I had an affinity to color. To my advantage, a lot of really talented colorists were poo-pooing the computer as a tool at the time, which opened the door for us young turks and our Mac's installed with Photoshop 3.0. As a (slightly) older artist now, it is a lesson that has stayed with me: always be ready to learn.

Rich: What is the "Devil Inside" and what is it about?

Dennis: "Devil Inside" is my webcomic that I created with Todd Stashwick of HEROES and The Riches fame. The short pitch is "The Devil Quits" but of course it's much more than that. Todd and I have worked hard to craft a world that is informed by a supernatural reality that is unlike anything you've ever scene. One part Sandman and one part Kerouac, it is also uniquely American.

Rich: How do you feel about being a comics professional, and why did you choose this profession?

Dennis: I'm one of those lucky few that wake up every morning and does what he would do if I didn't HAVE to work. I make a nice living illustrating the characters and locales that I grew up with as a fan and get to create NEW worlds for people to explore.

Comics was, put simply, one of the only jobs in which I could draw for a living. It's my vocation and my art, and again, it's what I would do if I didn't HAVE to do anything.

Rich: If you could have one super power what would it be and why?

Dennis: All my favorite heroes have MORE than one power so I don't know why I always have to narrow it down to one! But if I do, then I would want to fly, and fast. I would love the thrill of traveling through the air and also being able to go anywhere, anytime, fast, without the use of a car or plane or whatever.

Rich: How can someone contact you?

Dennis: You can always reach me through my agent at Eva Ink Artist Group, Renee Witterstaetter at evaink@aol.com or through the company website at: www.evainkartistgroup.com; and check her blog for updates about my activities at: http://witterstaetterwrites.blogspot.com/

Rich: Any parting words for all your fans?

Dennis: First, remember this stuff we all love doesn't come out of a machine. It's made by flesh and blood people trying really hard to make cool stuff for you! And I love doing it, so thank you!

Nothin' Like a Bowl of Gumbo, Ya'll! (Except Two Bowls of Gumbo!)

2012-01-15T20:03:00.000-08:00

Writing about the upcoming Wizard New Orleans show has made me hungry.

I mean REALLY hungry... my mind goes to Shrimp Etouffee, Jambalaya, Red Beans and Rice, breakfast at Cafe du Monde, oyster po-boys... and yes.... GUMBO!

My Aunt Margaret--my Dad's older sister--lived in New Orleans by the time I was born. My Mom and Dad went to visit her shortly after they were married, long before the advent of me.

(Mom and Dad on their Wedding Day.)

My Mom recounts how she was rather shocked by the goings on down on Bourbon Street. But they still went to The Court of Two Sisters, Pat O'Brien's and the same places that are still in the French Quarter today. (And yes, ya gotta check the side streets for the most awesome places! The hole in the wall places frequented by locals.)

Of course, when you were visiting Aunt Margaret, good food was never far away. As soon as you walked in the door, there was a pot of Gumbo in the works, etouffee planned for the next day, huge piles of crayfish on newspaper--bright red and inviting, and the thought of picking up some po-boys on French bread to take on a road trip to see the plantations was never out of mind.

Yes, we went there almost every summer--loaded into my Dad's truck and driving more than 8 hours, on an old 2 lane highway from Texarkana through Louisiana-- and every summer I gained five pounds.

It was worth it.

I have a clear vision of Aunt Margaret in one of her brightly colored dresses, multi-tasking the kitchen into a frenzy, her two little chichuas, waiting patently for their baked chicken breast to be cut up (no canned food for them), the giant Great Dane trying to desperatly get under foot with much lovable success, and my dear Uncle Al--the real Cajun, looking at the whole scene bemused.

(With Aunt Margaret at the New Orleans house.)

I so loved going to their house.

I loved New Orleans.

To Aunt Margaret, much like me, she cooked for the people she loved. I think she must have loved us a bunch...

So, you can bet your boots that when Wizard New Orleans rolls around, you'll find me frequenting my favorite haunts, sampling some fantastic food, and dancing a little Zydeco.

That's the way it's gotta be, ya'll. Aunt Margaret would say so.

--Renee
_________________________

Here's a little bit of New Orleans for all of you. A wonderful Gumbo recipe. It takes some time, but soooo worth it.

New Orleans Gumbo

Recipe Yields 10 servings

Ingredients
• 2 tablespoons butter
• 3 cloves garlic, minced
• 2 cups chopped onion
• 3/4 cup chopped celery
• 1 pound okra, chopped
• 1/4 cup butter
• 1/4 cup all-purpose flour
• 1/2 pound cubed beef stew meat (optional, I don't use it)
• 8 cups water
• 1 (16 ounce) can whole tomatoes, undrained and chopped
• 1 1/2 teaspoons white sugar
• 1 1/2 tablespoons chopped fresh parsley
• 1 sprig fresh thyme
• 2 bay leaves
• 1 pinch salt
• 1/2 teaspoon ground cayenne pepper
• 1 pinch ground black pepper
• 1 pound Andouille sausage, cut into 1/2 inch pieces
• 1/2 pound crabmeat, flaked
• 1 pound medium shrimp - peeled and deveined
• 1/2 teaspoon hot pepper sauce
• 1/4 cup Worcestershire sauce
• 1/2 lemon
• file gumbo powder

Directions
1. Melt butter in a large skillet over medium heat. Cook garlic, onions, celery and okra, stirring constantly until golden brown. Set aside.

2. In a large heavy bottomed stock pot over medium-high heat, combine 1/4 cup of butter and flour. Cook, stirring constantly, until the roux becomes chocolate brown. (Be careful here, I still have the scars on my leg from when I was 10 and the bubbling roux decided to take leap.) Stir in the vegetable mixture, and stew meat. Cook, stirring, until vegetables are tender, and meat is evenly brown. Stir in water, tomatoes and sugar. Season with parsley, thyme, bay leaves, salt, cayenne pepper and black pepper. Bring to a boil, reduce heat, and simmer for 2 1/2 hours, stirring occasionally.
3. Add shrimp, crabmeat and andouille to stock pot. Stir in hot pepper sauce and Worcestershire sauce. Remove seeds from lemon and squeeze juice into stock pot. Simmer an additional 10 minutes, stirring occasionally. Remove bay leaves, sprinkle with file powder, and serve.
4. Serve over rice or alone.

Note: File Gumbo Powder can be added off the heat to thicken the gumbo. If added while the gumbo is still cooking, it may become stringy and unpleasant. File powder is ground sassafras leaves. It is available in many supermarkets, or you can find it on line.

Enjoy! ANDdon't forget the hot sauce, ya'll!

SPOTLIGHT: New Interview with MATT TRIANO

2012-01-14T13:43:00.000-08:00

From Reporter Richard Vasseur. Original post, different Triano artwork, and website here:

http://forums.jazmaonline.com/topic.asp?TOPIC_ID=4023

Read on! In our Special SPOTLIGHT on Matt Triano.
--Renee

Matt Triano
Comic Book Artist
Published by: Moonstone, DC, Atomic Press, Zenescope
Interviewed by: Richard Vasseur/Jazma VP
Posted: 14/01/2012

Rich: Action Boy is the backup story in "Captain Action" how do these heroes compare to each other?

Matt: Captain Action has two iterations, the original Cold War hero and the modern adventurer; Sean Barret/Action Boy was partner of the first Captain Action, but the stories we told about him in the CA Second Feature took place before his days as a costumed adventurer. Each character struggles against the unknown: the alien without and the alien within. Sean Barrett's adolescence brought strange powers and painful memories to the fore, exposing secrets of his childhood that would lead him on the path to becoming Action Boy. The characters relate to the reader as a metaphor for accepting change. Fun stuff to work on as an artist.

Rich: What other characters besides Action Boy do you get to draw in the comic?

Matt: I drew Sean and his family in flashback, as well as his schoolmates and teachers at the academy, Captain Action among them.

Rich: Would you like to draw an entire issue of "Captain Action"?

Matt: Captain Action is a content-rich character with a strong multimedia following; it would be a lot of fun to contribute to that legacy, and why stop at just one!

Rich: You worked on DC's "Halloween Special '09" did you have fun doing Red Robin, how did you make him stand out?

Matt: At the time that story was published, Bruce Wayne/Batman had been 'killed' by Darkseid in the last issue of Final Crisis. Tim Drake/Red Robin was the only member of the Bat Family to actively search for his mentor and surrogate father, refusing to accept the loss. The Halloween story was a piece about dealing with grief. From a process standpoint, my style and storytelling has changed considerably since I did that work; I wonder what choices I would make differently were i to do it now. I was happy to be part of that project.

Rich: Do you like to do non super-hero comics as much as super-hero ones and why?

Matt: I love cogent narratives, regardless of genre. Superhero stories are sometimes devoid of logic, and justifiably dismissed. Form must match function, and world-building is a challenge because once a path of logic has been taken any divergence of that logic becomes commentary on the story, exposing it as farce. For example, I can't say for certain that a baby born under the Red Sun of Krypton would not develop powers beyond mortal men when exposed to the Yellow Sun of Earth; science hasn't enough data to refute that premise, and as a vehicle for drama, I can accept it categorically. Superman's adventures can therefore be fantastic. yet character motivations must be reasonable, psychologically vetted, and logically consistent within the framework of that narrative. Batman is equally as compelling but for different reasons, and demands a different approach, smaller in scope; if he ventures to Outer Space or to another dimension, the story strains under its previously established credibility. Everything is relative, and in any story there must be Truth.

Rich: What mythical characters did you draw in "Grimm Fairy Tales Myths & Legends" and what did you learn from it?

Matt: In my work for Zenescope I've drawn some fairly familiar characters: the little Mermaid in her struggle against the Sea Witch, the Beauty and her Beast. The archetypes are intact, all else is re-imagined; I'm constantly discovering new ways to approach my work, and tell better stories with that ethos in mind.

Rich: Why do you love creating comics so much?

Matt: I love to draw, and I love to tell stories; cartooning is a language, the synthesis of word and image. It demands dedication to understand and devotion to master. I'm excited by the infinite potential of the blank page and the myriad decisions that can and will be made in order to tell a specific story; there are no incorrect answers, but there are absolutely effective and ineffective decisions. I love laying out a page, exploring the possibilities within the framework of the script, and actively describing moments in a world that is and isn't mine, and that did not exist before I created it. I seek to be clear, economic, and as entertaining as possible. Comics from a production standpoint are amazingly democratic: nearly anyone can physically make the work and execute it quickly. It's relatively cheap to print and free to put online, with new avenues opening all the time to distribute the material; this makes comics a viable form of expression for the single auteur who's self-publishing minis, as well as the multinational corporation publishing hundreds, even thousands of units per month. As Commercial Artists, comics creators are unique in that they enjoy a direct relationship with the reader through their efforts; what you see is what I've made, and the work is fairly accredited to the authors. For these and other reasons, I love making and reading comic books.

Rich: What super-hero comic would you most like to work on that you have not and why?

Matt: I would love to draw Batman, Daredevil, and Spider-Man among others. I would *love* to work with Neil Gaiman on a Sandman story. Sometime in the future when I'm a better cartoonist, I would love to write and draw a long Superman adventure. He's the hero that speaks to me most, and I would like nothing better in the superhero genre than to tell his stories for a while.

Rich: What creator owned projects do you have?

Matt: . I've begun early work on a few stories that could (if I find the time) become original graphic novels, but they're a long way from seeing print; I'm keeping busy as a freelancer at the moment.

Rich: What do you think of DC's New 52?

Matt: I think the DCU is a fascinating experiment that seems to be, if sales are the measure of success, an overwhelmingly fruitful venture. I'm fascinated by the work I've read, and look forward to seeing more.

Rich: What do you have planned next for your career?

Matt: I plan to get better at my job and fulfill certain personal and professional goals; in 2012 I'd like my work to reach more people, and to tell stories that make us all happier. If there's a greater power inherent to the medium, I don't know it.

Rich: Are you a fan of movies and which kind?

Matt: I love movies. Film, which is ephemeral and passive, differs from comics, which are physical objects that demand active participation to experience. Some compare comics directly to film as sister media, but I think this is problematic; comics are inherently devoid of both motion and sound, whereas film is defined by them. It's fascinating to see what decisions are made in film to achieve results that, in comics, would require a different approach. If Superman: The Movie (1978), The Terminator (1984), or Animal House (1979) are on, I have to sit and watch til' the end.

Rich: How can someone contact you?

Matt: Any business-related correspondence should be directed to my agent, Renee Witterstteater, at evaink@aol.com I joined Eva Ink Artist Group last year, and have been working with Renee on projects, commissions and convention appearances. So, I'm up for any of that. Just let her know. Her blog is:
http://witterstaetterwrites.blogspot.com/
I know she posts all of our press releases there. Eva Ink Artist Group also have a Facebook page that is open to the public.

Rich: Any words for those that enjoy seeing your art?

Matt: Thanks for reading!

ABOUT MATT TRIANO:

Matt Triano has written and drawn comics for collections and anthologies by publishers such as Moonstone, DC Entertainment and Atomic Press. He is also known for his storyboard work, motion comic work, and artwork for various ad agency projects developing custom comics for high profile clients. His art can currently be seen in works for Robin Hood Charities in New York as well as comic projects for Moonstone (Captain Action), Zenescope (Grimm's Myths and Legends), The Discovery Channel and Marvel Trading cards (Marvel Characters).

Gumbo Ya Ya!-- Golden and Texeira Join Wizard World New Orleans!

2012-01-14T13:12:00.000-08:00

New Orleans-- If we are to learn a lesson from the art of cooking Gumbo, it's that when you add a bunch of seemingly different, but complimentary, elements together, the melange turns into something extremely wonderful and indescribable. With that in mind, get ready to savor the second annual Wizard World New Orleans convention-- at which we are please to be adding several key ingredients from Eva Ink Artist Group: Michael Golden and Mark Texeira.

What would a New Orleans convention be without a little spice?!

Michael Golden is a legendary comic book creator who is known for his work on "The 'Nam," "G. I. Joe," "Star Wars," "Doctor Strange," and much more. He has worked in toy design, game design and development of intellectual properties for all forms of media. Currently he is the cover artist for "Spawn."

Michael will be teaching his class "Storytelling with Michael Golden: Taking your Ideas to the next level" at Wizard this year on Saturday. This is always a popular event, so don't miss it!

For the duration of the show, Golden will be located in artist alley, signing his books such as "Michael Golden: MORE Heroes and Villains," "Excess: The Art of Michael Golden," "Bucky O'Hare," prints and much more.

Several new Michael Golden Sketchbooks are in the works, fyi, including the softcover "Michael Golden: Alchemy" and "Dangerous Curves."

Illustrator and fine art painter, Mark Texeira is also making a return to New Orleans. Known for his work on "Ghost Rider," "Black Panther," "Wolverine" "Punisher," and numerous Marvel characters, you'll want to get on his sketchiest early. It always fills up!

Mark will have prints at the convention, and his books "Mark Texeira: Nightmares & Daydreams," and "Tex: The Art of Mark Texeira, prints, and other items at his booth in artist alley.

Mark too will have a new softcover sketchbook later this year. FYI, all sketchbooks are limited to just 1,000 copies, so it's always only as supplies last.

In addition, Steve Scott, also represented by Eva Ink Artist Group has created a limited VIP William Shatner piece for the New Orleans event. This cool cat VIP litho is full color and measures 11x17. Limited to 500 copies, the print is available to Shatner VIP's. It is also available at Steve Scott's table in artist alley for $20. while supplies last.

This is a perfect time to pick one up--any which way you can--and have Shatner and Scott sign it at the show.

And finally with the Eva Ink contingent, Renee Witterstaetter will have her books available, including "Kerry and the Scary Things," "Nick Cardy: The Artist at War," "Joe Jusko: Savage Beauty," and additional items.

Wizard World New Orleans takes place January 28th and 29th. Joining Golden, Texeira and Scott at the show are the likes of: William Shatner, Stan Lee, James Leary, Michael Biehn, Arthur Suydam, Peter Mayhew, Erin Gray, Mary McDonnell, James Marsters, Adam Baldwin… and many more!

Gumbo Ya Ya! Literally translated as everyone talking at once at a big party…. Yup, that about describes it.! So come join the party, and get some Gumbo (both kinds) of your own.

For more information on Michael Golden, Mark Texeira, Steve Scott or Renee Witterstaetter contact: evaink@aol.com; and visit our website at: www.evainkartitgroup.com

For more information on Wizard World New Orleans, and how to become a "Shatner VIP," go to: www.wizardworldcomiccon. com

Steve Scott Creates Shatner VIP Print-- Wizard World New Orleans Starting off Like a "Rocket!"

2012-01-09T21:39:00.000-08:00

New Orleans-- The Wizard World New Orleans convention is taking off like a ROCKET at the end of this month, with illustrator Steve Scott as the featured artist for the William Shatner VIP print--Showcasing an image of Mr. Shatner paying homage to his highly collectible cover recordings that we know and love!

Yes, he was Captain Kirk, yes he was one of the best things about "Boston Legal," yes he was fantastic on "Bleep, My Dad Says," yes, we only use Priceline because of him-- But how many of you also know that Shatner has released covers of many popular tunes, including "Rocket Man," AND "Lucy in the Sky with Diamonds?"

This cool cat VIP litho is full color and measures 11x17. Limited to 500 copies, the print is available to Shatner VIP's. It is also available at Steve Scott's table in artist alley for $20. while supplies last.

This is a perfect time to pick one up--any which way you can--and have Shatner sign it at the show.

And while you are at it, get Steve Scott--responsible for the design, straight to pencils, inks and colors--to sign it too. It's a great opportunity to meet this talented artist if you haven't already:

Steve was recently honored to finish out the legendary "Batman" series at DC Comics, leading up to the New 52. Currently his work will be seen on upcoming special issues of "Captain Victory" for Dynamic Forces, as well as some exciting creator-owned projects.

Milestone works for Steve included "X-Men Forever" with writer Chris Claremont, an amazing Green Lantern special project at DC Comics, and "Batman Confidential"! Not to mention that Steve is also the ONLY artist tapped by DC Comics to do any work relating to "Batman Forever," depicting the now legendary turn of Heath Ledger as The Joker. (Look for Steve's work in the Blue-Ray disc release of the movie!)

Steve is indeed certainly no stranger to media tie-in's. His work has also often been seen on the television show Smallville. As well as doing some darn good likenessess for the last "Indiana Jones--Tomb of the Gods," comic book series for Dark Horse to coincide with the Harrison Ford movie! In fact, George Lucas liked Steve's work so much that he purchased most of the originals to keep for himself!

In other words, Steve Scott is busy making comics, in an industry he loves, which is a good thing for his ever growing number of fans.

Wizard World New Orleans takes place January 28th and 29th. Joining William Shatner and Steve Scott at the show will be such names as: Stan Lee, Michael Golden, Mark Texeira, Renee Witterstaetter, James Leary, Michael Biehn, Arthur Suydam, Peter Mayhew, Erin Gray, Mary McDonnell, James Marsters, Adam Baldwin… and many more!

For more information on Steve Scott and his work, contact: evaink@aol.com; and visit our website at: www.evainkartitgroup.com

For more information on Wizard World New Orleans, and how to become a "Shatner VIP," go to: www.wizardworldcomiccon. com

Eva Ink Artist Group Announces New Talent Joining the Group in 2012!--Calero, Meyers, Triano

2012-01-08T10:07:00.001-08:00

A New Year brings exciting new updates for Eva Ink Artist Group!

In addition to setting up appearances, arranging sketches, and in some cases fielding assignments for:

Michael Golden
Mark Texeira
Steve Scott
Rodney Ramos
Liam Sharp
Renee Witterstaetter
Joe Jusko

We have also just signed several established and wonderful talents, joining Eva Ink Artist Group this year:

Dennis Calero
Matt Triano
Ric Meyers

Eva Ink Artist Group specializes in sequential art needs (including penciling, inking, coloring and lettering) for comics and graphic novels, custom comics, script editing for comics and film, voiceovers, game design and other needs, toy design, product development, storyboards, and much more.

Our sister company, Eva Ink Publishing produces low run and collectible art books for various talent, art history retrospectives and bios, and also serves as a packager of sketchbooks for artists in all fields (inquire for details to: evaink@aol.com)

Be sure to check our soon to be updated website at: www.evainkatistgroup.com for more information on all of the above and all the possibilties therein.

Best,
Renee

Short Bios:

Dennis Calero is the award winning and internationally recognized artist of X-Men: Noir and Legion of Superheroes. He has also leant his talents to CCG Properties such as Magic andLegend of the Five Rings, as well as Dungeons & Dragons. His work includes X-Men Noir : Mark of Cain, X-Factor, 28 Days Later: The Aftermath, Cowboys and Aliens, Dark Tower, Fallen Angel, Hawkgirl, Star Trek: The Next Generation, Supergirl and the Legion of Superheroes, Magic The Gathering, Countdown to Final Crisis, Wolverine: First Class and JSA Classified. During his tenure on X-Factor the title was nominated for the Harvey Award for Best New Series (2006). Calero has also provided illustrations sporadically for role-playing games, beginning in 1996 for White Wolf. He has done interior artwork forDungeons & Dragons books for the Forgotten Realms setting, such as Silver Marches,Faiths and Pantheons, and Races of Faer?n. Calero also co-founded Atomic Paintbrush, one of the first computer-coloring companies working in the comic-book field.

Matt Triano has written and drawn comics for collections and anthologies by publishers such as Moonstone, DC and Atomic Press. He is also known for his storyboard work, motion comic work, and artwork for various ad agency projects developing custom comics for high profile clients. His art can currently be seen in works for Robin Hood Charities in New York, Moonstone (Captain Action), Zenescope (Grimm's Myths and Legends), The Discovery Channel and Marvel Trading cards (Marvel Characters), as well as a Batman story for the "DC Halloween Special."

Ric Meyers: Although declared the “Martial Art Movie Master” by Crash Cinema and “America’s leading Asian action expert” by the Boston Globe, Ric Meyers is a true media maven, having been “Special Media Consultant” for Sony, DreamWorks, Columbia, Tristar, Emperor Movie Group, and Celestial Pictures, as well as ABC, CBS, A&E, Discovery, Bravo, Nickelodeon, and Starz Encore networks. He wrote the first Incredible Hulk novel for Pocket Books, as well as Dirty Harry and Ninja Master novels for Warner Books, two science fiction novels for Questar, three horror novels for Dell Books, and the last Dungeons and Dragons novel for TSR prior to their Wizards of the West Coast buy-out, among others.

His non-fiction include award-winning books on TV detectives, science-fiction and fantasy films, exploitation films, and, of course, his famed volumes on martial art and kung fu films. In addition, he has presented films shows and seminars on breaking into the business, creative writing, living, and thinking to audiences as large as five thousand at conventions and colleges throughout the world.

He is the author of at least two dozen books of both fiction and nonfiction under variations of his name, as well as several pseudonyms, such as Dane Hartman and Wade Barker. His most successful and popular include Doomstar, Fear Itself, Murder in Halruua, TV Detectives, For One Week Only: The World of Exploitation Films, and contributions to The Destroyer, Dirty Harry, and Ninja Master paperback series. Periodicals he has contributed to such publications as Starlog, Famous Monsters of Filmland, The Armchair Detective, and DirectTV The Guide,
as well as contributing to the 60th anniversary issue of Detective Comics.

For more information on booking any of the talent above for assignments, conventions or interviews, please contact Renee at: evaink@aol.com

CBG Fan Awards-- Time to Vote!

2012-01-06T15:34:00.000-08:00

Hi Everyone--

It's that time, when the Awards season starts kicking up, and while I'm always just happy to be asked, LOL, I do have some wonderful talent in my life that I feel are wonderfully deserving of an award.

Here's the Link, and it's quick and easy:

http://cbgxtra.com/new-from-cbg/cbg-fan-awards-2012-nominate-your-favorites-of-2011

So, I encourage you all to vote and Consider the Following folks when you are thinking back on their work in 2011:

*"Nick Cardy: The Artist at War"-- Favorite Graphic Novel

*Michael Golden-- Favorite Cover Artist (Spawn and more)

*Joe Jusko and Mark Texeira-- Favorite painted covers

*Mark Texeira and Steve Scott and Dennis Calero and Matt Triano and Michael Golden
-- Favorite Pencilers

*Michael Watkins-- Favorite Colorist

*Rodney Ramos-- Favorite Inker

*"Kerry and the Scary Things"-- Favorite Book for kids

*Eva Ink Artist Group-- Favorite Publisher (albeit small)

*Jim Salicrup-- Favorite Editor (Hey, he's at another company, but he's the best!)

*Todd Dezago -- Favorite Writer

Thanks all! And Happy Voting!

--Renee

Saying Good-bye to 2011! Hello 2012!

2011-12-31T09:36:00.000-08:00

As the year draws to the close, thinking about the positive things in 2011....

I am:

Grateful for my friends and my family.

Happy to have had relatively good health for myself and most of those I love.

Blessed to have a roof over my head, food to eat, and a few little nice surprises or splurges here and there.

Fortunate to be working in a creative industry I love.

Fulfilled to be publishing books that I, myself, enjoy. And working with so many talented people.

Thrilled to see so many beautiful pieces of art come to life, and add to the archives of our human existence.

Anticipating new projects in both publishing and film that I can't wait to get started on!

So many things....

I remember the quiet moments, the times in nature, the hours writing, the spontaneous laughter, the songs I've danced to, more vividly than the pin pricks or outright slugs.

So, for all of us this coming year, I wish us an abundance of the good, and the joy, and the feeling of peace that is often indefinable... and of course...a Happy New Year!

Oh, and MUCH more dancing. :-)

--Renee

Eva Ink Publishing Schedule for 2012-- A Preview!

2011-12-28T12:50:00.000-08:00

As we start gearing up for the New Year, LEI Publishing (aka Eva Ink Publishing, aka Little Eva Ink Publishing) is starting to put together our publishing wish list for 2012, and we do have some great things planned for you all.

As already announced, we'll be doing a new hardcover sketchbook on artist Joe Jusko, entitled "Joe Jusko: Maelstrom." A wonderful companion piece to last year's "Joe Jusko: Savage Beauty."

In addition, we've just announce the new art book full of text and art on the amazing Nick Cardy, entitled "Nick Cardy: Wit-Lash!" And again, a perfect follow up to this year's "Nick Cardy: The Artist at War."

Other books include two new Michael Golden books, one hardcover "Dangerous Curves," and also a softcover preview book to debut at the San Diego Comic Con. "Dangerous Curves" will be a wonderful companion piece for "Michael Golden: Heroes and Villains," (which has sold out), and "Michael Golden: MORE Heroes and Villains."

On artist Mark Texeira, we are planning a 6x8 softcover sketchbook book as a companion to this year's "Mark Texeira: Nightmares and Daydreams."To be followed by another hardcover later in the year.

Note that we do not ever duplicate artwork. Each book will contain artwork not found in any other Eva Ink volume.

So much to publish! But for us at LEI, the joy of putting out hardcover and softcover books, signed editions and the sketch editions that we have become known for, is something we take great pride in bringing to you.

So, stay tuned. We have other surprises up our sleeves for 2012... All of which, I really WANT to tell you about, because I know you'll be as equally as excited as I am--on top of what we've already announced...

But all in good time.

Happy New Year Everyone!

Best,
Renee

R. Witterstaetter
Eva Ink Publishing
www.evainkartistgroup.com

Wishing You All, a Nice SLOW Holiday Season

2011-12-24T15:34:00.000-08:00

I'm always amazed at how smells trigger memories…

Honeysuckles makes me remember playing with a gaggle of puppies in my backyard when I was 5, Patchouli reminds me of the fragrance that my friend puts in his clothes drawer permeating everything he wears, Roses make me remember a certain perfume I use to buy my Mom, baking bread reminds me of snowy days in Connecticut. The smell of hot chocolate reminds me of my Grandmother.

In the midst of spending and wrapping and unwrapping and eating, it's the little things I think about most during the holidays… putting together a gingerbread house (it's never perfect), making cut out cookies with my nephew and niece's kids (assuming I can keep them from eating all the dough), drinking hot chocolate.

That last one, of course, doesn't have to be relegated just to the holidays. But it was something that WAS relegated to "treat" status in my youth. Something to have when we were sick. Or something to have when we were spending the night with Maw Maw.

Spending the night with Maw Maw, usually with my cousin Lisa, or our cousin Kevin if he was in town, was always an adventure-- packing a bag with pajamas and toothbrush and setting out to someplace other than our own house for the WHOLE night! A place with handmade quilts and pillows filled with feathers. And of course, after that came breakfast! One of the things we always looked forward to was breakfast in what seemed like then… and probably was… a large, and disorganized, country kitchen.

In my mind, the layout is very vivid, and despite the fact that the house was later sold, and Maw Maw is now many years gone, this version of a perhaps glamorized room still lives on in my mind: On the left, there was a pantry that led into the backyard. A little bit of a scary room with cabinets sporting metal handles, dusty jars labeled with peeling tags and an actual breadbox--the contents of which I never explored. It was the room that company usually didn't see, ya know, thus the lack of decor. I was told that Maw Maw would ring the necks of her own chickens in the backyard... (or did she use a hatchet ?), and pluck the feathers in the pantry, but I never saw this event.

The backyard--someplace we oddly never ventured--was pretty sparse, which is hard to imagine, since later on in her life, Maw Maw was an avid gardener, and her future yards were never complete without a literal field of tulips. I guess she was too busy running her cleaning business back then--Maw Maw was quiet the entrepreneur,and a good businesswoman. But still, she was not too busy to still make her own lye soap (I remember that smell too). And not too busy to have her granddaughters over to spend the night.

The center room of the kitchen boasted the sink, sometimes full of soaking cucumbers on their way to becoming pickles, or something on it's way to being canned. It was serviced by well water-- and always tasted so strange to me! And even now, if I have well water it takes me back to that moment in time. The old stove was opposite the sink, and in-between was the door on the right that led into the family dinning room.

I loved that room with it's gargantuan table reserved for adults and the print of "The Last Supper" hanging on the wall that my Dad gave to his bride's Mother on the day they married--the room where the whole family would gather on Christmas and Thanksgiving and Easter… you didn't dare go anywhere but Maw Maw's. And it harked back to the time when that was the norm and things were not as splintered as they are now…

And while it has taken on a rather Norman Rockwell patina in my mind, I can still hear the mingling of voices, filed away in brain-- Daddy, Aunt Sandra, Uncle Kenneth, Uncle Arthur, Aunt Lana, Aunt Aba, my brothers, my cousins and I… and other relatives, some of which, exist now only in that vague audio record that will die with me, I suppose, since it is only how I remember it…

My favorite part of the kitchen, accented in white and red, was by far the breakfast nook. It was a cozy little area off to the left of the kitchen door, walled in on three sides, and decorated with plates of various sizes and patterns, consisting of a table and the three-sided square of benches taking up the whole nook. Such a safe little place for a child, in an otherwise big house.

That's where Lisa and I would have breakfast, waking to the smell of frying eggs, thick cut bacon (the only kind Maw Maw liked), toast… and our favorite: Hot Chocolate.

Maw Maw was a coffee drinker (I wasn't yet of course), and I vividly recall the way she drank it… pouring it into a saucer to cool it down, and drinking directly from that saucer. I don't think I've ever seen anyone else do it that way… but I'm sure it is probably something she saw her parents do. Just like eating cornbread in buttermilk.

As for us, we certainly didn't feel deprived. Maw Maw made the best Hot Chocolate and Cocoa. And I'm not talking about the instant ,pre-packaged stuff. Maw Maw made it from scratch. And there is nothing that tastes better than that when it is made with real milk.

Funny something so small sticks in your mind.

But I'm convinced, it's not only the list of ingredients in a mug, that makes such moments so memorable. It's the process, the slowing down… the ritual of such things.

I can't imagine how different those mornings would be in my mind if, for example, Maw Maw had quickly made instant cocoa, and then piled us into the car to go to McDonald's for breakfast instead.

I don't remember even having a McDonald's then… thank goodness… so, we sat in the breakfast nook instead. She cooked the eggs and bacon and sawmill gravy from scratch, she slowly stirred the milk for the chocolate so it wouldn't burn, Lisa and I sat in our nook, while Maw Maw asked us about our lives, told us stories about when she was a kid, and, honestly, probably nosed around a little bit to see what we knew that she might not about other goings on in the family.

But she sat with us for that leisurely time, didn't she, despite that she had a business to run, in that little breakfast nook surrounded by decorative plates and her salt and pepper collection, and she sipped her coffee out of a burgundy rimmed, porcelain, flowered saucer with a little chip somewhere on the side from years of use… and we drank our chocolate, sometimes out of hand painted Santa Claus cups, depending on the time of year.

Every once in a while she'd laugh and say "Well, Renee!" or "Well, Lisa!" feigning surprise over something we'd said, drawing out the vowels of our names, just a little for affect.

Time is a gift.

But one that we rush through much like a roll of paper towels. We always think there is going to be more. We don't use each piece of it to it's fullest. As I get older, I find that I like more and more slowing things down when I can. Taking the train instead of flying...

Finding time to TAKE the time.

I'm not sure when the "FAST became better trend" started. Maybe it's when the economy , at first slowly, started to require families in America to work one, two, three jobs, when we were encouraged to go into debt to "have," when "fast" somehow became perceived as "better." I don't know, but the "fast" has overtaken us stealthily over the last forty years.

My Mom has a collection of cookbooks from the 70's for example with titles like: "Microwave Cooking," "Meals in Minutes," "Microwave Miracles: The Short Order," not that she ever uses these-- they were required gifts in that era as surely as bell-bottoms and fondue pots--but they are also part of a time-capsule, a sign of the times when this prepackaged need for "quick" was gathering steam, I think.

It is a paradox in the extreme that the very inventions that purport to save us time, really cost us time instead.

So what to do?

It's not hard to halt the wheel. Just start by thinking of one thing we've gotten into the habit of doing the fast way, and do it the slow way one time instead.

Bake cookies from scratch; Put together your own peanut butter and jelly sandwich (it's surprisingly easy); Slice the cheese yourself and open a pack of Saltines instead of getting pre-cut, prepackaged, highly expensive snack packs; Read a book instead of waiting for the movie; Cook something in the oven instead of the microwave… and yes, make the hot chocolate the old fashioned way, stirring it slowly on the stove while you talk to…someone.

Now, don't get me wrong! I'm not saying I always practice what I preach. But I can guarantee you that the times that I have, are much more memorable than the times I haven't.

The Beef Stroganoff I've made from scratch for my friend, sticks in his mind much more than the other times I was rushed and made Hamburger Helper. My walks across New York, more memorable than taking the subway. And I've never remembered one single thing I've made in the microwave (except those eggs that exploded that time).

So…my wish for you this Holiday Season is that it should go extremely SLOW. That you perhaps smell the aromas of green bean casserole, Mincemeat and sweet potato pie (or whatever you love), made from scratch, like I smell cooking now in my Mom's kitchen as she prepares Christmas dinner…

That nothing is rushed… that one moment isn't quickly tossed aside in anticipation of the next.

In short, I wish you all, a cup of nice sllooowww....Hot Chocolate.

______
Old Fashiioned Hot Chocolate

Makes about 4

4 cups milk
2 tablespoons sugar
2 tablespoons plus 1 teaspoon unsweetened cocoa
4 tablespoons semisweet chocolate -- shaved or chopped

Put all ingredients in a heavy-bottomed saucepan. Place pan over a medium flame; bring milk to a simmer, stirring constantly. Do not let the mixture boil. Remove from heat when the chocolate melts.

Michael Golden Originals for Sale via Eva Ink Artist Group

2011-12-22T12:00:00.000-08:00

Artist Michael Golden is known as one of the best storytellers in the Comic Book industry, with his cover work and interiors in high demand. As such, Michael Golden was tapped by Todd McFarlane to pencil and breakdown the interiors of the top selling "Spawn #200," featuring some of Golden's first interior storytelling in many years.

Because Michael did not ink the interiors, this collection of original art serves as the only record of Michael's interior pencils and storytelling for the Issue of "Spawn #200," which also marked a spike in the series sells by 278 percent.

Michael's interiors for this issue will be sold as a set, and because of the rarity of these pages, we will not be able to send out jpegs of the complete issue because of the collectibility of this work. A few sample pages are above.

As far as the Issue 200 Breakdowns are concerned, there are a total of seventeen (17), 8.5 X 11 pages. Ten (10) are four story pages per sheet of paper; most are complete/tight breakdowns, some are roughs or double-page spreads. The other seven (7) are a single story page per sheet of paper, with some of the panels being full pencil renderings.

Today, they comprise all of Michael's work on Issue #200 of Spawn.

Again, these breakdowns are extremely rare, since of course this is the only original art that exists for this milestone issue.

This is only a small portion of the Golden originals we have for sale.

For more information, contact Renee at: evaink@aol.com

www.evainkartistgroup.com

Steve Scott Takes on COBRA

2011-12-19T13:36:00.001-08:00

No, we don't mean the health insurance company! Artist Steve Scott is featured in this week's Gutter's installment, in a G.I. Joe parody, that can only be called "Commanding."

Here's what the commentator's have to say:

I know that we were all schocked and saddened by the loss of Cobra Commander..
(Wait, that happened? Really? OK, then.)

But the real questions still lie ahead. What direction will Cobra take? Will Baroness ever be able to get that Lasik Eye Surgery covered by Cobra's health plan? And what, what I ask, has become of the Weather Dominator?

In all seriousness though, IDW has done a pretty go job taking franchises like GI Joe, Transformers, Etc, and keeping them relevant. I know that some of their stories have been derived from the classic comics, or even shows themselves, but keeping these characters in the public eye in between blockbuster movies is a good thing and if we can do it with a bit of cool story, all's the better.

What I really liked about the issue in which the new Cobra Commander was revealed (GI Joe #8, I believe) was the cover. It had a latex scratch-off area, not unlike a lottery ticket, that you could scratch to reveal the identity of the new Cobra Commander. I'm not usually one for gimmicky covers, but I had never seen anything like that before. When you read as many comics as I have over the years, that's sayin' something.

At any rate though, today's page made it through the Terrordrome's Arena of Sport thanks to Steve Scott:

Steve Scott's work has been seen in the pages of such titles as Justice League of America, Marvel Adventures Hulk, X-Men Forever, Batman Dark Knight, Indiana Jones and the Tomb of the Gods and most recently, Batman. In addition to the published work, he has done artwork for the TV Series, Smallville and his work can be seen in the Sneak Peak for the upcoming JLA movie, Doom. Currently, Steve is working away on Kirby Genesis, Captain Victory in his studio at 3 Alarm Comics in Biloxi Mississippi and can be seen this year as the co host of the Down the Road show.

For more information on Steve, contact: evaink@aol.com

For the original post of Steve's page, visit: http://www.the-gutters.com/comic/230-steve-scott

"Joe Jusko: Maelstrom" Available for Ordering-- New Sketchbook in a series from Eva Ink Publising!

2011-12-09T14:33:00.000-08:00

Hey Everyone-- The much anticipated second Joe Jusko Sketchbook from Eva Ink Publishing is in the current/upcoming Diamond Catalogue, and is available for ordering either via Diamond or via Eva Ink Publishing (www.evainkartistgroup.com)

"Joe Jusko: Maelstrom" is a lush 48 page, full color book, and showcases works by Jusko not featured in any other sketchbook or artbook! A great follow up to last year's book "Joe Jusko: Savage Beauty."

Jusko is undoubtedly one of the best known Fantasy, Pin-Up and Comic Artists in the world today. His career has spanned over 30 years, starting with the sale of his very first cover for Heavy Metal Magazine in 1977 at the age of 17. Since graduating that year from NYC's High School of Art & Design, Joe has worked for almost every major comic book publisher, producing hundreds of images for both covers and interiors.

His work has appeared on paperback book covers, calendars, posters, t-shirts, toy packaging and innumerable trading cards, most memorably the multi award winning 1992 Marvel Masterpieces Trading Cards. The popularity of that set has been credited with initiating the painted trading card boom of the 1990's, and led to his groundbreaking 1995 Art of Edgar Rice Burroughs trading cards. Those 125 paintings have made him the most prolific Burroughs artist ever, producing art based on almost every major book by the famed author. He is currently the cover artist for the "John Carter of Mars" series.

In addition to his work at Marvel over the years, Joe has produced art for many other companies and characters, including DC Comics, Crusade Comics, Innovation Comics, Harris Comics, Wildstorm Comics, Top Cow Productions and Byron Preiss Visuals, to name just a few. He has produced storyboards for ad agencies and advertising campaigns for such notable clients as the World Wrestling Federation, where he designed the art for the 1991-1992 Royal Rumbles and Wrestlemania VII.

His recent work includes monthly painted covers for Dynamite Comics' adaptation of Edgar Rice Burroughs' WARLORD OF MARS, covers for VAMPIRELLA and a 4 issue WOLVERINE/HERCULES minis series as well as numerous independent publishers. His 2005 fully painted graphic novel based on Lara Croft, the heroine from the Tomb Raider video game series, won a Certificate of Merit from the prestigious Society of Illustrators, into which he was inducted in 2007. His hardcover "Art of Joe Jusko" book was released by Desperado Publishing in May, 2009 to rave reviews, and "Savage Beauty" his first in a series of hardcover sketchbooks from EvaInk Productions was released as of November 2010. He's currently developing a graphic storytelling property with Steve Niles' (author of "30 Days of Night").

His work has earned him myriad awards and honors, including two "Favorite Painter" Wizard Fan Awards, multiple trading card awards, a Golden Lion Award from the Burroughs Bibliophiles (previous recipients include Frank Frazetta and Boris Vallejo) and a Chesley Award nomination for best cover in 2001.

Joe's original paintings are held in collections worldwide, a fact that never ceases to amaze and humble him.

This new sketchbook on this prolific painter, "Joe Jusko: Maelstrom" is available in two editions:

Signed Edition: $39.99

ISBN:978-1-4675-0474-4

Sketch Edition: $124.99

ISBN:

978-1-4675-0475-1

The print run is limited to 1,000 copies.

Contact us at: evaink@aol.com for more details. Payments are accepted via paypal or via credit card when ordering directly from Eva Ink.

For more information, feel free to drop us a line. And if you don't own "Joe Jusko: Savage Beauty" yet, ask about acquiring both books, and receive a 10% discount via the Eva Ink store.

Regards,

Renee Witterstaetter

www.evainkartistgroup.com

evaink@aol.com

www.witterstaetterwrites/blogspot.com

EVA INK PUBLISHING Books! Make Great Stocking Stuffers (and much better than a lump of coal!)

2011-12-08T05:57:00.000-08:00

Hey Everyone! I know a book may be a bit big to put in a stocking, but that special comic lover or art aficionado on your Christmas or Chanukah list will love one of our art books from Eva Ink Publishing anyway!

Why spend all that time fishin', when you already know what they like? :-)

Now, while supplies last throughout 2012, Eva Ink Publishing will be offering all of our retrospectives and sketchbooks on ebay at a special prices.

We're talking about:

"Michael Golden: MORE Heroes and Villains"
"Joe Jusko: Savage Beauty"
"Mark Texeira: Nightmares and Daydreams,"
"The Naked Fat Rave Portfolio"
"The Art of Mark Texeira" Deluxe Slipcase (Published by Vanguard)
"Nick Cardy: The Artist at War"
"Steve Scott Sketches!"

And More!

All of the books will be offered continuously until they sell out like the first Michael Golden sketchbook did this last year, then I'll relist the ones that are still in stock, so be sure to add me to your favorites list.

Yeah... maybe they just deserve a lump of coal. But hey, it IS the holiday season afterall. :-) (And then they tend to have birthday's once a year too, ya know.)

So, snag one now--for someone you love...including yourself!!

Happy Holidays!

--Renee Witterstaetter

Eva Ink Publishing
Eva Ink Artist Group

Malta Comic Con Interview with Michael Golden

2011-11-26T17:07:00.000-08:00

Continuing our adventures at the Malta Comic Con, here is the recent interview posted on the one and only, Michael Golden!
-R.

WC: Did you always want to become a comic artist?

MG: Where I grew up, in the American West, that was not a job that even came on my radar. I grew up on a ranch, in the middle of nowhere. The nearest city was hours away. The day consisted, at an early age, of getting up with sun, doing chores, and going to bed with the sun. It was a working ranch. My first experience with comic books were TinTin comics that my mother would buy for me from time to time when we went into town. Something about that stuck in my brain, I suppose, and I drew like a lot of kids draw. Most just don't stick with it. Later as a teen, travelling around the US on my own, I made ends meet by painting murals on vans, etc. Again, I never thought in terms of being a comic book artist. It never dawned on me. Until one day some friends of mine suggested that it might be a career path for me, and offered to buy a ticket for me to go to New York. I went. And within a few days had landed my first jobs in the business.

WC: How would you describe your style?

MG: That's a hard thing to describe. If an artist is good, and doesn't just mimic some other artist that came before him, there should be something unique and un-definable about his work that makes him stand out. For me, when I first started, I was asked a lot to imitate Kirby on projects. That didn't last long-maybe a year. I didn't like trying to "do" someone else's style. I feel that over the years, I've developed something uniquely my own that is identifiable as mine. And I'm still evolving. Be still and get stagnant. And by the way, I don't really consider myself an artist so much as I do a storyteller.

WC: Over the year's you've worked on various characters and have drawn countless comic book covers ranging from Spawn, Nightwing, Micronauts, Spiderman, Iron Man and Hulk. Which characters or series did you enjoy working on the most and why?

MG: I'm asked that a lot, but honestly I have no favourites. If the check didn't bounce, I liked the job. We work in a commercial art industry and that is what hangs up a lot of artists in the industry. They forget that they are working for clients, who have specific needs, and want things delivered a certain way. This is not about the artist's ego. It's about doing THE JOB.

WC: Apart from being a comic artist, you are also a writer and have been involved in editing and art direction with the big Publishing houses. How do these jobs differ and do you have any particular preference?

MG: They differ a great deal. As an editor at DC Comics and Senior Art Director at Marvel, I found that I was not involved in the creative process as much as I would like to have been. If given free reign, I would done both of those jobs differently. That being said, it did give me the opportunity to sit on the other side of the desk and learn that end of the business. Never say never. I might do it again.

WC: You have also been involved with a number of movie productions. What can you tell us about this experience?

MG: Once again, this is a job, albeit a different job than drawing a comic book. You are still working with a story and a client and the specific needs of that client. Just a different medium. I really prefer working on my own ideas and on animation projects, on which I have more a say and freedom. And I hope to be doing more of that in the future. I have also just heard recently that the project I co-created with writer Larry Hama, Bucky O'Hare, will be made into an animated feature soon.

WC: You've worked on countless of comic covers, do you normally have complete freedom with regards to the content and how challenging is it?

MG: Yes. I am fortunate that I am considered one of those creators in the industry who is also a designer. Most editors know that if they give me the assignment, I'm going to give them a layout and finished cover that has a certain level of professionalism. One thing I don't like is for an editor to say "Okay, give me an iconic cover," and that's it. I do like covers to be story specific. To me, the cover should draw in the reader. Make them want to pick up that comic and buy it. You have a lot of competition on the shelves. You must present the face on the product and make it great.

WC: One of your closest collaborators is Renee Witterstaetter the brains behind Eva Ink. What can you tell us about your past and future collaborations?

MG: Renee has been my editor on numerous projects at Marvel, Topps Comics and beyond. I know I can trust her judgement in putting together a story and in her ability as an editor. She also recognizes good talent, obviously (laughs). We have co-created many properties together, including the comic series "Spartan X," and future projects through Eva Ink Publishing. Www.evainkartistgroup.com

WC: You are currently involved in a series of 1-2 days story telling workshops. Can you tell us more on this? How important are these and similar workshops for aspiring comic creators?

MG: I have been giving the one hour course at numerous conventions around the world this past year or so, including stops in Gijon, Spain, China and all stops in the US. The longer classes are in development. These classes are designed for anyone interested in storyteller. Period. No matter if it is for comics, movies, animation, games...the rules of storytelling are the same.

WC: This is going to be your first appearance at the Malta Comic Convention. When did you hear about this, and what attracted you to it?

MG: I am a great lover of history, especially military history, and Malta of course has a history that rivals any place else in the world, being in such a strategic position, and coveted by all sides. I'm talking the Knights of St. John to World War II and everything else before, after and in between. So, I have known of Malta my whole life. On the convention, I did not hear about it until last year, when Renee attended the show and she told me what an amazing place and event she'd just experienced. I also saw her pictures, and when the opportunity came to attend this year, we couldn't pass it up.

WC: Do you have any other projects in the pipeline?

MG: Oh sure. My own creator owned properties are currently in development. I am also working on a few projects for IDW and DC Comics. And I am the regular cover artist on "Spawn" right now as well, among much more. I have a new sketchbook out entitled "MORE Heroes and Villains," which will be available at the convention, as well as prints and other books.

WC: Would you like to add anything else?

MG: Thanks for the invite. And if any of you are interested, you can join my facebook page, and also join the Eva Ink Artist Group page. Just google it, and you will find it, and thus receive all the news and updates you'll ever need.

Malta Comic Con Interview with Renee Witterstaetter

2011-11-25T16:17:00.000-08:00

Back with my friends at the Malta Comic Con! The Original Post appears here:

http://www.maltacomic-con.com/?article&id=129

--R.

___________________

WC: You're not just a creator. You're also a publisher, editor, writer, agent and producer! For someone who is as ambitious as you, what do you think, are the characteristics needed to break and work into such an industry?

Renee: I think blind luck. Luck has a lot to do with any endeavour. But I know I'm over simplifying things when I say that. You do need luck. But you also need to believe in yourself and being willing to move forward with some sort of blind faith. I don't know if you are familiar with the Tarot Deck. I've studied many for the art. And the "Fool" card most often than not shows a blindfolded man, stepping off the edge of a cliff. You may think that the card is a bad omen, but it's not. What it really represents is stepping forward with that "blind faith." I never once think to myself that something is impossible. I come up with an idea, and my first thought is "Okay, how can I make this happen." When I'm at the top of my game and true to myself, often times, it does happen. It's not a skill. It's something in all of us. I guess if I'm saying anything is that the main skill you need is to condition yourself to take chances and practice being unafraid. When a door opens, walk through it. You don't know what will happen. But guess what, if you "don't," then "nothing will."

WC: Some feel the comic industry is male-dominated but when it comes to noticeable females in the industry your name stands out. How hard was it to establish yourself in the industry?

RW: That's a good question, and of course the industry is much different now in so many ways than when I started, and there are so many more opportunities. Frankly, when I landed my first job at DC Comics around 1987, there were not many women in the field, as you say. But I think one of the things that helped me the most was that I was completely oblivious to that fact. Didn't event think about it. I grew up a tomboy, did more fishing than dancing, learned to shoot a gun when I was 10, etc. etc. so stepping into a "man's world," or being intimidated by that was not something that even crossed my mind as a concern. I found out what the job was, and said "Hey, I can do that."

My background in college was journalism, and my first job after college was doing the public relations and guest relations for a convention called The Dallas Fantasy Faire. From there, a door opened to that job at DC Comics, then Marvel, then Topps, then to film production, to being an artist agent and publisher. That's what I mean by watching for the doors. One thing leads to another.

And I also found that my journalistic background aided me as a comic book editor, and conversely, the stints as a comic book editor aided me in my film production career. The tasks of organizing story elements were very much the same.

WC: You've worked as a colourist on hundreds of comics featuring classic characters such as Captain America and Superman. Do you still like colouring? Would you consider doing it again?

RW: I love colouring, although I sort of just fell into it. When I was an assistant editor at Marvel, the pay was pretty low for having to live in New York City. Around 18K, and all the assistants on staff were encouraged to do freelance. I got a set of Dr. Martin's dyes and started colouring away. My friend, Spidey editor Jim Salicrup threw a lot of work my way, and I also wrote a lot of letter columns for $50 a shot for editors like Bobbie Chase. At that time, I think my friend Marie Javins and I were called to colour a lot of stories, some overnight. I remember many nights when I'd work at the office 9-5, then go home and colour from 5pm to 7 am before going to work again. You did what you had to do.

We coloured by hand. Now colouring is done digitally. I have not started digitally colouring. I've just been too busy with my writing, editing, publishing, producing, etc.

I did however, colour my recent children's book, "Kerry and the Scary Things." It's meant to have a crayon like look, so hand colouring worked well with that. I'll have some of these for sale at the convention. I first started colouring it while in Malta last year in fact.

WC: As a story boarder you've worked on famous movies such as Rush Hour II and Drunken Master II. What is it that made you venture into such an aspect of the entertainment industry?

RW: I wasn't a story boarder. I've worked production on numerous movies, commercials and music videos such as "Rush Hour 2," "Red Dragon," "To Ease the Lose," and music videos for Madonna, Seal, Usher, etc. My various jobs have included Inventory Coordinator, Production Assistant, First Team, Production Coordinator... whatever the job called for at any given time. Working on a crew, it's funny, it's like a little living entity, and teaming ant colony that comes together for 3 to 6 months, working for a common goal, and then disperses when it's over. If you are part of a good colony, you really feel a sense of sadness when a production is over.

WC: You're an avid Blogger and Facebook user. Do you think that social media communication is an asset for someone like yourself? Why?

RW: Sure! I have reconnected with so many friends via facebook. And I find that I use it a great deal for my press releases and business announcements. Being a blogger, I get to post about my work of course, but also about events or issues that are important to me. You have to monitor yourself. You can't be on it all the time and let it take over your life. I see people doing that, and I don't want to be one of them. Everything in moderation, right? But if used correctly it is a valuable tool. It's a great way to get the word out and express yourself as well. And also a great way for clients to contact me about convention appearances for both myself and the artists I work with. (hint). My public page is under "Eva Renee Witterstaetter," and our company page is "Eva Ink Artist Group." For those who want to follow my blog, it's at Blogspot under "WitterstaetterWrites." I had a column in a lot of the comics I edited called "Witterstaetter's Witticisms," but since I'm not always that witty, I decided to change the name for the blog. (laughs)

WC: You've recently made a new breakthrough in your life by writing a children's book; 'Kerry and the Scary Things'. What prompted you to work on such a project?

RW: I have three new children's books in the pipeline now! On "Kerry and the Scary Things," the original story and concept was created years ago, with character designs by artist Keith Wilson. The idea of a little boy that loved monsters and puts together a monster fighting back pack in case he ever finds any... was a story we've wanted to tell for a long time. We were lucky enough to make it happen last year. I plan to write more. In fact, "Kerry and the Dreadful Dragon," which was also plotted all those years ago, is now in development.

WC: Your company 'Eva Ink' has various branches and must keep you very busy throughout the year. What is your biggest satisfaction related to 'Eva Ink'?

RW: Doing projects I love, such as my recent book "Nick Cardy: The Artist at War." This is a story of one man's journey through World War 2 as told through sketches he did while in the war. Very powerful. It meant a lot to me to get this book out for Nick. I'll also have this book at the Malta show.

So, to answer your question, what I love about having my own company is working on whatever project I want to. Nobody can say, "Eh, nobody wants to read a comic on dinosaurs," as someone actually did when I pitched the idea of buying the Jurassic Park rights many years ago, before another smart company, Topps under the leadership of Jim Salicrup, did indeed buy the rights. (I moved to Topps and was an editor there later on those books!)

WC: One of your closest friends and collaborators is creator Michael Golden. What can you tell us about your past and future collaborations?

RW: Michael is amazing. A true genius in the comics field and in any creative field. He is an amazing storyteller, designer, artist, you name it. And a nice guy. We co-created the comic series "Spartan X" together and are working on some joint stories and book right now for this next year. I have nothing admiration for Michael's creative abilities. Which is obvious since when I was at Marvel and Topps, I hired him for any projects as he could possibly do.

WC: This is the second time you're attending the Malta Comic Convention. What attracted you to this convention? What makes it different to the other conventions you visit throughout the year?

RW: The first time I attended, last year, I wanted to come because I'd never been there before. I like seeing new places. I also love ancient sites, and Malta has sites that are 5,000 BC. That's truly amazing. So in addition to just meeting new fans and having new experiences, seeing Malta itself was a big factor. Now, for my second trip, what made me want to come back was just the warmth and generosity of the people that I met last year, who really made me feel at home. I'm glad to have the opportunity to take part in the event again and see it grow.

WC: What projects do you have in the pipeline and what can you tell us about them?

RW: So many.... a new Joe Jusko sketchbook to follow up his book from last year, "Joe Jusko: Savage Beauty," a new Mark Texeira sketchbook, a new Michael Golden sketchbook, a new Nick Cardy book, new children's books, some limited edition giclees, and also two new additions to the DVD series on creators to go with the ones already done on Golden, Jusko, Bill Sienkiewcz, Matt Wagner and George Perez. I'll also be promoting Michael's intellectual projects for animation etc.

WC: Is there anything else you would like to add?

RW: Thanks so much for the great questions. And again, look for me on facebook and follow my blog. That's the best way to keep updated on Eva Ink Artist Group and Eva Ink Publishing.

Nothing Says It Like a Parody! --Huffor, Ramos, Triano come to bat

2011-11-22T10:01:00.001-08:00

I love a good parody! I guess that's why I had such fun when I was the editor of "What The?!" at Marvel Comics for all those years. Sadly, we never were able to tackle any political issues very much or anything too controversial for that matter. But hey, we had a blast.

Other sources are not hobbled in that way. Be sure to check out www.The-Gutters.com, as they explore issues in our industry, including the Digital revolution, storylines and even points when comics overlap politics.

Below are a few choice pieces arranged via Eva Ink Artist Group (www.evainkartistgroup.com), featuring some of our talented guys.

Here we feature pencils and inks by artists: Matt Triano, Wes Huffor and Rodney Ramos.

Gosh, they make me wish I was still editing a humor anthology! Good job guys.

And, I believe, if you want to order prints of any of these pieces, they can be found on their website as well.

-R.

Everything IS Bigger in Texas! Wizard Austin Starts This Weekend-- Golden Art Class on Saturday!

2011-11-10T19:21:00.000-08:00

Austin-- Yeah, we already know everything is bigger in Texas, and this weekend's Wizard World Austin show is no exception, featuring some spectacular guests including the amazing talents of Michael Golden, Mark Texeira and Rodney Ramos.

As an added bonus, in conjunction with Wizard, writer and artist Michael Golden will also be conducting his exclusive class "Storytelling with Michael Golden," on Saturday at 11. Don't miss this chance to hear how to incorporate the basics of a great story into your work, no matter if that work is in the fields of animation, comics or film. The basics are the name.

Mr. Golden is renowned for his storytelling, and is the co-creator of Rogue, Bucky O'Hare, Spartan X and much more, as well as serving as an editor at DC Comics and Senior Art Director at Marvel Comics. You've got questions about stories? Ask him here.

Fine Art Illustrator Mark Texeira will also be appearing at Wizard Austin, for his first time. Bringing with him a selection of prints, books and original art. Mark will also being sketching at the convention, as well as signing his comics. Be sure to ask about his watercolor originals a well.

Known for his stunning work on Ghost Rider, MoonKnight, Black Panther, Wolverine and much more, don't' miss this opportunity to meet Mark in person.

Artist and inker Rodney Ramos has recently been added to the convention! Rodney has been a professional comic book artist for over 15 years. He has Penciled and inked work for Marvel , DC Comics, Marvel UK, Valiant , Acclaim and various other companies. He has worked on such titles as "Batman," "Green Lantern," "Wonder Woman, "52 , "Countdown," "X-men," "Spiderman," "Ironman" and the Critically acclaimed "Transmetropolitan."

Rodney will have many originals for sale at the show, and will also be signing and doing commissions.

Along with these talented artists, writer Renee Witterstaetter of Eva Ink Artist Group will have copies of her newest books "Nick Cardy: The Artist at War," "Kerry and the Scary Things," "Tex: The Art of Mark Texeira," and "Joe Jusko: Savage Beauty," as well as the comic book series she co-created with Michael Golden, "Spartan X," available for signing.

With other guests such as Keith Wilson, Kerry Gammill,Arthur Suydam, Greg Horn, Tommy Castillo, Wes Huffor, George Perez…. at the convention, it hardly seems like three days is BIG enough, Texas or not! So don't miss a minute!

For more information on the show, visit: www.wizardworld.com

For more information on the artists above contact: www.evainkartistgroup.com

(Above: Featured works by Renee Witterstaetter, "Transmetropolitan" cover in a issue featuring Rodney Ramos, Mark Texeira Sketchbook Cover, Michael Golden photo and Nomad cover line-art.)

Rick Steves Tips for Bargaining in European Markets-- Can be Applied at Home!

2011-10-25T08:28:00.000-07:00

Hi Ya'll!

I personally love Rick Steves comments on traveling abroad and often reference his books on places to see and things to do in any given city, with the focus of getting more bang for your buck.

One of the things I love to do is visit flea markets and thrift shops around the world and bartering for that unique piece as a souvenir. I like doing that better than buying something that says "Paris," and it's made in "Taiwan." (I'll go to Taiwan too someday, I hope, and when I do, I won't be looking for something that says "Made in Timbuktu.")

And I've found some amazing things, from a leather jacket for $10 in Amsterdam, to another leather jacket in Belgium for $20, to a Stieff, rare, stuffed elephant on the banks of the Seine for $20.

Let me explain the plethora of leather jackets. I seem to have this habit of misreading the weather, and ending up places sans proper attire. I guess because I have so much to pack, the jacket is the last thing I think of? I don't know.... :-) But never fear. It's also an excuse to head to the nearest bargain hunters street and find something neat to take home. And...

It's just fun! I'd do it anyway!

Reading over Rick's comments, it also struck me that you can apply these same techniques to flea markets, garage sales, and antique fairs here at home in the US as well.

I'm lucky enough to live in NYC, and I have my pick of amazing places to frequent.

But I'm sure you do too. Check your local listings, find the Canton Flea Market of your region, and give it a whirl.

Why not?!

And then...Let me know about your great finds!

Happy Bargaining!

--Renee

(Above, on the beach in Gijon, Spain, with one of the leather jacket finds from the Amsterdam flea market.)
_______________

"Top Tips for Bargaining at Europe's Markets"
by Rick Steves

At Europe's lively open-air markets and bazaars, bargaining for merchandise is the accepted and expected method of setting a price. Whether you are looking for door knockers or hand-knitted sweaters, seize the chance to bargain like a native. It's the only way to find a compromise between the wishful thinking of the seller and the souvenir lust of the tourist.

Bargaining can be fun if you learn how to haggle. Among many good markets to practice your skills are Amsterdam's Waterlooplein, London's Portobello Market, Paris' Puces St. Ouen, Madrid's El Rastro, and Tangier's Souk. Caution: Pickpockets enjoy flea markets as much as you do—wear your money belt.

When browsing, first determine if bargaining is appropriate. It's bad shopping etiquette to "make an offer" for a tweed hat in a London department store. It's foolish not to at a Greek outdoor market. In Venice, walk away from knock-off goods; the sellers and even the buyers are subject to fines.

To learn if a price is fixed, show some interest in an item, but say, "It's just too much money." You've put the merchant in a position to make the first offer. If he comes down even two percent, there's nothing sacred about the price tag. Haggle away.

Snoop around and find out what locals pay. Prices can vary drastically among vendors at the same flea market. If prices aren't posted, assume there's a double price standard: one for locals and one for you. I remember thinking I did well in Madrid's flea market, until I learned my Spanish friend bought the same shirt for 30 percent less.

To avoid a bad case of buyer's remorse, decide what an item is worth to you before beginning to haggle. Many tourists think that if they can cut a price by 50 percent they are doing great. So the merchant quadruples his prices, and the tourist happily pays double the fair value. The best way to deal with crazy price tags is to ignore them. In determining the item's value to you, consider the hassles involved in packing it or shipping it home. (If a merchant ships an item home for you, remember to have a picture taken of yourself with the item and merchant; it will help you get the item replaced in case it arrives in pieces.)

When you're interested in an item, look indifferent. As soon as the merchant perceives the "I gotta have that!" in you, you'll never get the best price. He assumes Americans have the money to buy what they really want. Your job is to determine the merchant's lowest price. Many merchants will settle for a small profit rather than lose the sale entirely. Promise yourself that no matter how exciting the price becomes, you won't buy. Work the cost down to rock bottom, and then walk away. That last price the vendor hollers out as you turn the corner is likely the best price you'll get.

Work as a team with your spouse or a friend. While you bargain, your companion can act the part of naysayer, threatening to squash the deal entirely. This trick can work to bring the price down faster.

Study ahead, especially if you want to buy something more substantial like a leather coat or a big-ticket item like a Turkish carpet. Istanbul has very good leather coats for a fraction of the US cost. Before my trip I talked to some leather-coat sellers and was much better prepared to confidently pick out a good coat in Istanbul's bazaar.

Obey the rules. Don't hurry. Bargaining is rarely rushed. Show you are serious by taking the time to talk with the shopkeeper. Dealing directly with the owner can lower the price (no sales commission).

If you are truly ready to buy, show the merchant your money. Physically hold out the amount you are offering to pay for whatever you are bickering over. The seller will be tempted to just grab your money and say, "OK."

Prices can drop at the end of the day, when merchants are starting to pack up. Swoop in at closing time to snap up the real deals.

If the price is too much, move on. Never worry about having taken too much of the merchant's time. Vendors are experts at making the tourist feel guilty for not buying. It's all part of the game. Most merchants, by local standards, are financially well-off.

It's true that you might find the same souvenirs in a large department store, with a firm price. But where's the fun in that? Store shopping can be quicker and easier—but it's never as memorable.

Rick Steves (www.ricksteves.com) writes European travel guidebooks and hosts travel shows on public television and public radio. Email him at rick@ricksteves.com and follow his blog on Facebook.

Here's the original link to the Steves article: http://www.smartertravel.com/travel-advice/how-to-bargain-at-europe-markets.html?id=9385331&source=91&value=2011-10-24+00%3A00%3A00&u=F443465D01&nl_cs=9121187%3A%3A7597281%3A%3A9385331%3A%3A

Here's the Scoop: Edelman Photo Makes Front Page News

2011-10-18T14:30:00.000-07:00

One of my old Marvel Editorial cohorts, Daryl Edelman, just had one of his photos used as a sign of the times. This one may go down in history, Daryl. A picture does say a thousand words... and more. Classic!
--R.

WonderCon Taps Michael Golden as Official Guest for 2012

2011-10-18T07:35:00.000-07:00

This just in. Artist and comics creator Michael Golden has been asked by WonderCon to be an official guest at the 2012 show. It will mark Michael's first time appearing at WonderCon. More details to follow. He is very happy to accept this honor. And hope to see some of you at the show!
--Renee

(Above: Batman Sketch by Michael Golden. Michael Golden and Renee Witterstaetter traversing the Great Wall of China, circa 2009.)

Artist Steve Scott at Packrat Comics Oct. 21st!

2011-10-15T06:31:00.000-07:00

Come see Steve Scott at Packrat Comics in Hilliard, Ohio (Columbus area) Friday the 21st starting at noon. Fresh off of "Batman Confidential." Right before Mid-Ohio Con, where he'll be appearing the two days of the show!

--Renee

We'll Take Manhattan! Eva Ink Line-up at New York Comic Con!

2011-10-13T09:09:00.000-07:00

New York Comic Con starts today in Manhattan at the Javits Center on the West Side, and Eva Ink Artist Group will have a bevy of talented artists and writers on hand to sign and sketch to your heart's content.

Just another reason to love the Big Apple, is the opportunity this show provides to watch some of the top names in the illustration business and sequential art at work in an amazing multi-media venue.

With Eva Ink Artist Group will be writer/artist Michael Golden at F-10, writer, publisher and agent Renee Witterstaetter at F-9, fine art painter and illustrator Mark Texeira at F-8, artist Steve Scott at F-7, aritst Rodney Ramos at F-6 and writer Ric Meyers at the Media Blaster's booth on the show floor.

All the talent will have books and prints for sale, and the artists will be sketching on site.

To get on the sketch list in advance of your arrival, contact Renee at: evaink@aol.com, or come by her table at the show. And check out the Eva Ink Artist Group website at: www.evainkartistgroup.com

For more information on the NYCC, go to: www.newyorkcomiccon.com

See you at the NYCC!

New Michael Golden Interview by Comics Syndicate

2011-10-09T08:31:00.000-07:00

Hi Ya'll--

Here's a new interview with artist Michael Golden, now on YouTube.

I say "new" but by the presence of the ubiquitous pony tail, it's probably about 1 year old. I'd say from Wizard Chicago in 2010, probably.

Nevertheless, as the Golden One says, his viewpoint has not changed since then. He's a pretty constant fella. :-)

Best,
Renee

Here's the link:

http://www.youtube.com/watch?v=OSHvKBG5-Rs

Steve Jobs: "You've Got to Find What You Love"

2011-10-05T21:01:00.000-07:00

Listening to the news tonight about the passing of the Einstein of our era, Steve Jobs, I heard excerpts of this speech. Very interesting. Give it a read.
-R.

This is a prepared text of the Commencement address delivered by Steve Jobs, CEO of Apple Computer and of Pixar Animation Studios, on June 12, 2005.
________

I am honored to be with you today at your commencement from one of the finest universities in the world. I never graduated from college. Truth be told, this is the closest I've ever gotten to a college graduation. Today I want to tell you three stories from my life. That's it. No big deal. Just three stories.

The first story is about connecting the dots.

I dropped out of Reed College after the first 6 months, but then stayed around as a drop-in for another 18 months or so before I really quit. So why did I drop out?

It started before I was born. My biological mother was a young, unwed college graduate student, and she decided to put me up for adoption. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife. Except that when I popped out they decided at the last minute that they really wanted a girl. So my parents, who were on a waiting list, got a call in the middle of the night asking: "We have an unexpected baby boy; do you want him?" They said: "Of course." My biological mother later found out that my mother had never graduated from college and that my father had never graduated from high school. She refused to sign the final adoption papers. She only relented a few months later when my parents promised that I would someday go to college.

And 17 years later I did go to college. But I naively chose a college that was almost as expensive as Stanford, and all of my working-class parents' savings were being spent on my college tuition. After six months, I couldn't see the value in it. I had no idea what I wanted to do with my life and no idea how college was going to help me figure it out. And here I was spending all of the money my parents had saved their entire life. So I decided to drop out and trust that it would all work out OK. It was pretty scary at the time, but looking back it was one of the best decisions I ever made. The minute I dropped out I could stop taking the required classes that didn't interest me, and begin dropping in on the ones that looked interesting.

It wasn't all romantic. I didn't have a dorm room, so I slept on the floor in friends' rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example:

Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn't have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating.

None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it's likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later.

Again, you can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something — your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life.

My second story is about love and loss.

I was lucky — I found what I loved to do early in life. Woz and I started Apple in my parents garage when I was 20. We worked hard, and in 10 years Apple had grown from just the two of us in a garage into a $2 billion company with over 4000 employees. We had just released our finest creation — the Macintosh — a year earlier, and I had just turned 30. And then I got fired. How can you get fired from a company you started? Well, as Apple grew we hired someone who I thought was very talented to run the company with me, and for the first year or so things went well. But then our visions of the future began to diverge and eventually we had a falling out. When we did, our Board of Directors sided with him. So at 30 I was out. And very publicly out. What had been the focus of my entire adult life was gone, and it was devastating.

I really didn't know what to do for a few months. I felt that I had let the previous generation of entrepreneurs down - that I had dropped the baton as it was being passed to me. I met with David Packard and Bob Noyce and tried to apologize for screwing up so badly. I was a very public failure, and I even thought about running away from the valley. But something slowly began to dawn on me — I still loved what I did. The turn of events at Apple had not changed that one bit. I had been rejected, but I was still in love. And so I decided to start over.

I didn't see it then, but it turned out that getting fired from Apple was the best thing that could have ever happened to me. The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life.

During the next five years, I started a company named NeXT, another company named Pixar, and fell in love with an amazing woman who would become my wife. Pixar went on to create the worlds first computer animated feature film, Toy Story, and is now the most successful animation studio in the world. In a remarkable turn of events, Apple bought NeXT, I returned to Apple, and the technology we developed at NeXT is at the heart of Apple's current renaissance. And Laurene and I have a wonderful family together.

I'm pretty sure none of this would have happened if I hadn't been fired from Apple. It was awful tasting medicine, but I guess the patient needed it. Sometimes life hits you in the head with a brick. Don't lose faith. I'm convinced that the only thing that kept me going was that I loved what I did. You've got to find what you love. And that is as true for your work as it is for your lovers. Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do. If you haven't found it yet, keep looking. Don't settle. As with all matters of the heart, you'll know when you find it. And, like any great relationship, it just gets better and better as the years roll on. So keep looking until you find it. Don't settle.

My third story is about death.

When I was 17, I read a quote that went something like: "If you live each day as if it was your last, someday you'll most certainly be right." It made an impression on me, and since then, for the past 33 years, I have looked in the mirror every morning and asked myself: "If today were the last day of my life, would I want to do what I am about to do today?" And whenever the answer has been "No" for too many days in a row, I know I need to change something.

Remembering that I'll be dead soon is the most important tool I've ever encountered to help me make the big choices in life. Because almost everything — all external expectations, all pride, all fear of embarrassment or failure - these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart.

About a year ago I was diagnosed with cancer. I had a scan at 7:30 in the morning, and it clearly showed a tumor on my pancreas. I didn't even know what a pancreas was. The doctors told me this was almost certainly a type of cancer that is incurable, and that I should expect to live no longer than three to six months. My doctor advised me to go home and get my affairs in order, which is doctor's code for prepare to die. It means to try to tell your kids everything you thought you'd have the next 10 years to tell them in just a few months. It means to make sure everything is buttoned up so that it will be as easy as possible for your family. It means to say your goodbyes.

I lived with that diagnosis all day. Later that evening I had a biopsy, where they stuck an endoscope down my throat, through my stomach and into my intestines, put a needle into my pancreas and got a few cells from the tumor. I was sedated, but my wife, who was there, told me that when they viewed the cells under a microscope the doctors started crying because it turned out to be a very rare form of pancreatic cancer that is curable with surgery. I had the surgery and I'm fine now.

This was the closest I've been to facing death, and I hope it's the closest I get for a few more decades. Having lived through it, I can now say this to you with a bit more certainty than when death was a useful but purely intellectual concept:

No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears out the old to make way for the new. Right now the new is you, but someday not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true.

Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma — which is living with the results of other people's thinking. Don't let the noise of others' opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.

When I was young, there was an amazing publication called The Whole Earth Catalog, which was one of the bibles of my generation. It was created by a fellow named Stewart Brand not far from here in Menlo Park, and he brought it to life with his poetic touch. This was in the late 1960's, before personal computers and desktop publishing, so it was all made with typewriters, scissors, and polaroid cameras. It was sort of like Google in paperback form, 35 years before Google came along: it was idealistic, and overflowing with neat tools and great notions.

Stewart and his team put out several issues of The Whole Earth Catalog, and then when it had run its course, they put out a final issue. It was the mid-1970s, and I was your age. On the back cover of their final issue was a photograph of an early morning country road, the kind you might find yourself hitchhiking on if you were so adventurous. Beneath it were the words: "Stay Hungry. Stay Foolish." It was their farewell message as they signed off. Stay Hungry. Stay Foolish. And I have always wished that for myself. And now, as you graduate to begin anew, I wish that for you.

Stay Hungry. Stay Foolish.

Thank you all very much.

Living up to Being "Most Asturian" -- Recent Award Ceremony in Aviles, Spain

2011-10-04T17:42:00.000-07:00

The award consists of a ceramic Ladybug…about 3 x 2.5… made in China, smiling a mischievous smile, and I'm told, bought in the dollar store down the street.

But to me, it's priceless.

Simple because of whom it was presented by and what it represents.

Two weeks ago in Spain, surrounded by people I have come to think of as wonderful friends, at the closing of the Jornadas of Comics in Aviles, I was presented with the "Most Asturian Award," at the closing ceremonies.

It's a Gala event!

Every year at the Aviles Festival--which I've been attending now for five straight years-- the organizing committee takes about $20 and goes to that aforementioned bodaga to buy roughly 12 items that are all the same, and that will serve as the "Oscars," for the closing ceremony.

Seeing what the silly, cute, whimsical statuettes will be each year is half the fun. The other half is hearing the categories! Which are whimsical themselves!

++++++++

They include:

"The Coolest Guest"--which often goes to the person who works the hardest with the most glee.

"The Guest Who Traveled the Furthest"--Self Explanatory

"The George Perez Award"-- For the guest that embodies the spirit of the show the most. Named after George on his first visit to Aviles years ago.

"Coolest Companion of an invited Guest"-- Which goes to one of the fantastic wives or husbands or significant others there with an invited guest--and we've had some great ones over the years!

"The Night Owl Award"-- The Guest who leaves the bar last every night. And yes, we've had some great ones of those too. I remember the year Steve Dillion and Joe Jusko were both vying for the honor and the competition was fierce! The battle now legendary.

"The Ron Garney Award"-- For the best looking guest. Named after Ron on his visit to Aviles. I think he left an impression!

+++++++

There are more, but you get the point! It's all in great fun.

And of course my award this year, "The Most Asturian Award."

Now, you may ask, what does this mean?

Asturias is the region of Spain which has existed since before the Middle Ages. The autonomous community is bordered by Cantabria to the east, by Castile and León to the south, by Galicia to the west, and by the Bay of Biscay to the north. The area have been coveted by the Celts, the Moors, the Romans....and many others. Later after being assimilated into Spain, Asturias itself played a large part in the colonization of the Americas. It's sister city is St. Augustine, Florida.

You can read about the unique history of this land here:

http://en.wikipedia.org/wiki/Asturias

The culture is amazing, and heavily Celtic influenced, as mentioned above. A type of kilt is the national costume, along with a unique type of three prong wooden shoe and bagpipes. (I always love hearing the sound of bagpipes in the morning across the town square.)

The national drink: A type of cider from the numerous apple orchards in the area, that must be aerated by pouring it from a height into a very thin, specifically shaped glass. They say you break many before you get the pour just right! The taste can best be described as "zingy." The glass is passed around and everyone drinks from the same vessel. After drinking most of the contents, it is customary to splash a little out onto the ground, as a way to clean the glass of any lees for the next pouring. (I love this tradition of sharing cider. So gregarious.)

Asturian cheeses, especially Cabrales, are also famous throughout Spain and beyond; Asturias is often called "the land of cheeses" (el país de los quesos) due to the product's diversity and quality in this region.

The traditional country houses on the rolling green hills are on stilts, and totally unusual in their design.

The local jewelry is made from a jet black stone that is often carved into fists, which ward off evil. (You can't buy one of these for yourself. It must be given to you.) The pottery is black too.

And the national dish is Fabada-- Oh man! Simmered white beans with shoulder of pork (lacón), black sausage (morcilla), and spicy sausage (chorizo). I LOVE it!

So you see, after all this time, I've learned a thing or two about Austrias and my two favorite cities there: Gijon and Aviles. That much is obvious...

But why me as "Most Austrian?"

When I see those cured ham hocks hanging from the ceilings, I have NO idea the best direction to carve them, or how thin for the optimum taste, and I certainly have NOT mastered the all important pouring of the cider.

I'd like to think-- which I guess is probably the case-- that my dear friends in Aviles gave me the award because, well, I simply love the place so much.

From the moment I first heard of Aviles from artist Rodney Ramos, and I venture there with artist Michael Golden for the first time five years ago, I was at ease, and felt at home.

It was second nature to hang out in the square, sipping coffee, as the artists draw for the people around them, and we joke and laugh and looked at artwork, surround by building with hundreds of years of stories to tell... Lunches and dinners are also communal events, lasting sometimes three hours each, as you really get to know the people you are with. (I've never seen anyone pick up a cel phone during a meal, and that is so refreshing.)

When not eating or sketching or talking, the ancient part of Aviles is a charming old city, with cobblestone streets and a lush central park that is wonderful for a jog or a walk.

In short, I am hooked on the place.

And I've always encouraged others to come.

Some have: Bill Stout, Herb Trimpe, Joe Jusko, Ken Lopez, Ric Meyers, Tim Burguard… I love to share this amazing place with people I like, and introduce them to the wonderful folks that run and work at the Aviles Festival-- Jorge, Angel, Jose Manuel, German, Diego, Irma, Roccio, Carmen… the whole crew--You won't meet a more dedicated group of folks.

In fact, Jorge started this show when he was just 16, going to the local government and convincing them that what Aviles really needed was a festival to celebrate comics.

He's been making it happen ever since.

Along with some other great festivals in the area, Aviles has been instrumental in drawing attention to the region, it's customs and what it has to offer.

I tried to help in some small part.

Along with videographer Robin Dale, we documented much of the spirit of the city and festival in a documentary we produced several years ago. And now even more has been added to the Aviles story by the addition of the Neimeyer Center for the arts that opened this year, and which is attracting talent and performances from all over the world.

(Our fear is that it may get too big here! But things must grow. And when you love something, you are happy for it to thrive.)

So, in short, I don't know why I got this little Ladybug (which is more than the sum of her parts). But I'm happy to have it. I'm not going to question it too much. Except to say "Thank you" to my friends for the...acceptance…

I'll try to live up to it.

As she sits on my shelf overlooking my attempt to make a Fabada kit I bought two weeks ago, throwing in the three types of local sausage and meat and reveling in the wonderful smells, the one thing running through my mind is: How in the world am I going to master that cider pouring before next year!!

Time to break some glasses...

--Renee

(In photos above, with my fellow recipients (alot of ladies won this year!), and guests at the Festival in Aviles, Spain. Photos by Pepe Caldelas.)

BOOM! Studios Release Free Oosterveer Issues to Honor Life and Work

2011-09-25T18:03:00.000-07:00

BOOM Studios just announced this regarding Minck's "The Unknown" work. If you were not aware of his artwork and amazing talent, take a look.

--Renee
www.evainkartistgroup.com

--------
BOOM! Studios thought that the best way we could think of to celebrate his life is by exposing as many people as possible to his creative work.

So in honor of the memory of Minck Oosterveer, BOOM! Studios is offering all issues of Mark Waid and Oosterveer's THE UNKNOWN and THE UNKNOWN: DEVIL MADE FLESH for free through all our digital partners — comiXology, iVerse, Graphicly, and mydigitalcomics. Please feel free to spread the word. Long known overseas, Minck was just getting traction here in the States, making his untimely passing even more tragic.

RIP, Artist Minck Oosterveer

2011-09-19T20:39:00.000-07:00

The Netherlands-- When a tragedy hits us, "somehow we have to take it and render it somehow speakable, in other words, we try to find a linguistic shorthand to make the process easier to bear." For example someone "passes away," or they "cross cover," or simply "cease to be."

Ironically, this was a partial quote from an article I was reading while in Spain this past weekend, when I heard of the death of our friend and colleague, Minck Oosterveer, who died Saturday night, Sept. 17th, in a motorcycle accident, in The Netherlands.

But Minck, by the shear volume of wonderful artwork he has given to our industry, and even more importantly his actions as a human being, ensure he is someone who will never "cease to be."

Minck was an amazing, award-winning, and talented creator who had a great impact on European Comics, and within the first part of this year was making a dynamic foray into American comics as well with work on "Ruse," and Spider-Man, and on "Zombie Tales," and "The Unknown" before that.

I had known Minck for several years as a friend long before this. We began to work together later. I am very honored and happy to have had him as a part of Eva Ink Artist Group this eventful year.

Throughout his career, Minck pursued an education to become a master of the arts.

Although he grew up in The Netherlands (Holland) with European comics, he was soon more interested in American comics, especially the newspaper comics of the 1930s-50s. It was the pulp-ish, direct style and the usage of black and white in realistic artwork that attracted him the most. Film Noir as it were.

In fact, Oosterveer's work was strongly influenced by Milton Caniff, Alex Raymond, and Will Eisner. After working for a studio on productions like 'Tom & Jerry', 'Sesame Street', 'Paddington', 'Ovide' and 'Spider-Man', Minck Oosterveer moved more in the direction of another stylistic forte, working with Willem Ritstier on the series "Claudia Brücken" for the Franco-Belgian publishing-house 'les editons Lombard' and Tintin-Magazine .

The collaboration with Ritstier resulted in a daily newspaper comic in an American style, "Jack Pott", published in the Dutch newspaper "Algemeen Dagblad."

Since 1996 Oosterveer worked again with Willem Ritstier on the newspaper comic "Zodiak" for De Telegraaf, and series "Rick Rolluik" for Suske en Wiske-magazine, and "Arachna" for ComicWatch-magazine. He did the art and story for the comic "Excalibur", published by Enigma and artwork for a successful animated movie, '"Mario A".

In 2002, Oosterveer and Ritstier started a new daily comic strip in De Telegraaf, called "Nicky Saxx", one of their most successful comic-series. This was followed by a comic-series entitled "Trunk" (2006), which debuted to critical acclaim. Next they teamed up (2007) as writer (Ritstier) and penciller (Oosterveer) for "Storm", a successful European comic series created by Englishman Don Lawrence, and started a new western-comic, called "Ronson inc." for the legendary Dutch comic-magazine "Eppo"

Minck Oosterveer debuted in US-comics with the aforementioned "Zombie Tales/ Zaambi" written by Cris Morgan and published by BOOM!-studios. Early 2009 until 2010 he collaborated with American writer Mark Waid to draw the mini-series "The Unknown" and "The Unknown: The Devil made flesh" which where published by BOOM!-studios as well. In addition to "Ruse" and "Spider-Man" this year, Minck was also in negotiations to do sequential work for Dynamite Entertainment.

Earlier this year, Minck was honored with The "Stripschapprijs (Stripschap-award), which is the oldest and most important comic -award in the Netherlands.

The "Stripschapprijs" is awarded every year to Dutch (with a few exceptions) comic creators for their whole body of work. And is awarded by the Stripschap, the Dutch Society of comics fans during the "stripdagen" (days of comics), the oldest comic convention held in the Netherlands, organized by "Het stripschap".

His recent US tour found him making appearances in Philadelphia, Albuquerque, and at a special night in his honor at the Museum of Comic and Cartoon Art in Manhattan, moderated by Jim Salicrup.

Okay...All of this documents his work. It does not document the man.

Minck was without a doubt one of the wittiest, and nicest people I've met in comics or anywhere. I don't believe it would even be possible to find anyone that would have anything negative to say about the man. You could only know Minck a minute and he'd have you feeling at ease. Like you'd been friends forever.

That was my experience. I met Minck for the first time over drinks with he, Barry Kitson and Mark Thelosen at the Lille Comics Festival several years ago, and it was one of the most memorable (and fun) conversations I can recall at any show any where. Lines from the night became our running jokes, in fact.

Later, we met again during a store signing in The Netherlands,at my dear friend Guido's shop, and it wasn't long before we discussed Minck becoming part of Eva Ink Artist Group.

I'm so happy he did.

At the time I said:

"From the moment Michael Golden and myself met Minck Oosterveer at a festival in Lille, France, we were struck by his witty sense of humor and his ease as a gentleman. After seeing his portfolio some time later, I also became aware of what an incredibly talented and versatile artist he truly is," commented Renee Witterstaetter of Eva Ink Artist Group. "Minck has that rare ability to find strengths in many art styles-- from Film Noir to cartoon, to American and European sequential styles. The one thing that is never lacking is good storytelling. Is is obvious to me that he is indeed a student of the masters such as Will Eisner and Alex Raymond in that regard. As with any exceptionally good artist, even his covers tell a story. To top that, not only is Minck a consummate professional dealing with deadlines and clients, but he is also the creator of his own intellectual properties.

"All of the above made Minck a more than welcome addition to our company, Eva Ink Artist Group," Renee concluded. "I try to only work with the best, and to me, Mr. Oosterveer is certainly that."

Indeed….I am honored to have known Minck for the time that I did, and all of us at Eva Ink Artist Group (Michael Golden, Mark Texeira, Steve Scott, and our friends Joe Jusko and Rodney Ramos among others) who got to travel with him this past year, certainly agree.

All linguistics aside, so much has been lost this weekend-- an incredible artist, a wonderful friend, a genuinely good person…

His family alone knows the full depth of this tragedy, and our thoughts are with them.

What words are adequate to express all of that?

Please go to his Deviant Art page (or www.minckoosterveer.com) and see some of the work he has left for us all. It says more than I can.

Godspeed Minck.

--Eva Ink Artist Group
Renee Witterstaetter

New Spawn covers by Michael Golden, plus appearances in October!

2011-09-16T04:57:00.000-07:00

Hey ya'll! Check out these new "Spawn" covers by regular cover artist Michael Golden, on this top selling series created by Todd McFarlane! Some incredible work by all involved.

Be sure to meet Michael in person this month at the New York Comic Con and at Mid-Ohio Con in artist alley. Michael will be signing and sketching at both of these appearances.

For more information, contact Renee at: evaink@aol.com

Part One: Nick Cardy Interview on "Silver Age Sage"

2011-08-19T10:53:00.000-07:00

Hi Ya'll--

Well, wouldn't ya know it. I posted Part Two of this great interview with Nick Cardy on the website "Silver Age Sage," without posting Part One! Bryan Stroud did a wonderful job of interviewing the amazing Mr. Cardy. So we'd be remiss not to have the whole interview posted here on our blog, where we love all things Cardy.

The original post can be found at:

http://www.wtv-zone.com/silverager/interviews/cardy1.shtml

Andy hey, why wouldn't I publish an interview that refers to me as a "fantastic women!" :-)

And much thanks to Bryan and Nick for taking the time to document this bit of comics history.

--Renee

_______

Nick Cardy Speaks with "Silver Age Sage"

Here is part one of the interview I enjoyed with Nick Cardy:

Bryan D. Stroud: Mr. Cardy, I wanted to begin by thanking you for your time. I've been lucky enough to speak with a couple of your peers and they had very fond memories of working with and spending time with you.

Nick Cardy: My pleasure. I guess you could say that Carmine Infantino is a fan of my work.

BDS: It's interesting that you mention Carmine. I've had the pleasure of talking with him several times and you're 100% correct. He adores your work and it almost looks like he kind of passed the torch making you the primary cover artist at DC.

NC: Well, what happened was at the time I was doing Bat Lash. Any new books come out and if they feel it has a potential they would give it about a 7 month trial. Now I could be wrong on this. But generally Carmine said what they do is they give it a year and if it doesn't make any money then they drop it. So on the last thing that I did of Bat Lash did you ever see Bat Lash?

BDS: I'm lucky enough to own three original issues of it and I really enjoyed the series a whole lot.

NC: Well, I wrote number two. That was the one with the tombstone.

BDS: Yeah, in fact that's one of the copies that I own.

NC: Well, Roy Thomas with Alter Ego is going to write a feature about Bat Lash.

BDS: That will be wonderful.

NC: I had three magazines. The latest one was several years ago where I showed a painting or drawing, but I showed it would be on the top of the page and on the bottom I would show how it started with thumbnails. Little pictures with final tracing and color notes and then the painting. And I would do that with almost all of them.

So now there's a new book coming out maybe the end of April or maybe early May about my war sketches that I had. (Nick Cardy, The Artist at War--Eva Ink Publishing.)

BDS: Yeah, that looks fascinating.

NC: Well, the thing is that during the war I carried in your duffel bag was your luggage, your sleeping gear, you carried your laundry, everything. It was in the duffel bag. That's where your possessions were. So I had about eight 3 x 5 little spiral sketch pads. And I always did a lot of sketching. And some of them are very rough, because it wasn't safe to sit out there in a combat zone drawing. So I took notes and on some of them if I found a larger piece of illustration board or something I had a little box of years ago they used to have these cough drops that had a lid on it like Sucrets or something like that. Well at that time I was about 21 or I don't know, but prior to that I had a little something underneath with a wire that you could put your thumb through like a palette. And then I'd put little squares of water color in it. And I had a brush that was cut. I had one of these stationery things that had a spiral thing where you could spiral the brush into it and you could seal the brush inside and spiral it and you had a brush that was pushed around and bounced around, see. And that was my watercolor setup.

Whenever I did pen and ink sketches, I had a fountain pen that I took. It was a gold-tipped pen and I took the point and I reversed it. I rolled it over on its back. The point is what I'm referring to. Then I bent it very gently so the tip would go maybe a sixteenth of an inch. Just a little pressure and you bent it. So you could put that on its side and get a broad stroke. And then I used a lot of spit. (Mutual laughter.)

Now these inks weren't waterproof. If I did a pen and ink sketch, and maybe there was a situation where I needed a little tone on the face, or maybe the sky or something, you put your finger in your mouth and wet it and just go over the ink and spread it out. But you could only do it that way five times. Because you run out of fingers. (Chuckle.) You don't want to be talking with a purple tongue, you know?

Anyway, I had all those sketches in a box and then, oh, years later I didn't want the pads to get mutilated, so I tore the pages out and put them in a loose leaf vinyl type thing. Then my agent, Renee Witterstaetter, she's a fantastic woman, she's the only woman I know who reminds me of when you get a movie star and the movie star is making a movie. This agent goes out and gets with all the publicity people and lets them know this girl's going to do a fantastic movie, you know? And they call to review, and that's where the publicity gets around and sometimes it's been more publicity than what the movie's worth. (Chuckle.) But every now and then you get a long shot that pays off. I certainly hope this book will fall into that category.

Getting back to my time in the service, in Germany they would use blackout shades. So that when the bombers came over no lights peeked out. Every now and then I would take one of those shades and do a little oil painting on it. Then one time I found out one of the drawings had been out in my garage for about 30 years. I tried to salvage it, but it still looks like an antique. (Laughter.)

BDS: It sounds like you were thinking ahead by holding onto all those sketches.

NC: No, it was just a matter of perhaps being a little bit of a packrat. For example, I still have some watercolor paper I bought when I went to high school. It's tucked in some corner somewhere. And the pages look like they have freckles on it, because some of the pages weren't cured, so some of them, after a certain period of time, you can see little spots coming up in the paper where it wasn't completely acid free or whatever.

BDS: When you were doing so many of the covers for DC back in the day, did you have regular cover conferences with Carmine?

NC: Yes. Carmine was very good at it and his covers were always a success. In fact there were some of his covers that brought DC back to life. It seems to me that there's always a little friction. There seems to be an undertone of friction somewhere around. If one guy gets elected, the others get upset. But he used to make layouts and he'd show me the layouts. He'd say, "Nick, what do you think?" I'd say, "That's great, but if you want to give it more power why don't we tilt it this way or that way? And we'd chat around until we came out with a cover. Because sometimes; I'd find this in drawing, too, when you have a good cover, like he used to have covers that were on a slant. He'd have the landscape on a slant.

BDS: That seemed to be a favorite technique.

NC: Yeah, and then there was one scene where I had Superman on a slab and on the shoulders of these four soldiers. I remember it was raining. They thought it was like a dead theme. But then they had that same theme with Aquaman on a kind of slab and then they had someone else on a slab on another cover. So sometimes you go with the success. But then you stop and you go to a different angle. He liked me for the reason that we both enjoyed using our talent in whatever we were trying to create. So we got along and I think the work showed that.

BDS: Carmine is probably your biggest fan, but you already knew that.

NC: You know I've often thought that had I been drawing Captain America or Superman for a long time, there would have been a lot of prestige with that. But when you draw characters that are secondary, they're like backups. It doesn't pack the punch. People don't clamor to see Aquaman. It's just not as popular a character as Superman.

But when you read a lot and you're a fan, you're a fan. You like almost anything. And sometimes you become a fan and the people become a fan of the artist. He can even show an intermediate character and no matter what he does it will sell the book. So that's why I say had I drawn let's see, I had started with years ago, a police thing. "Wanted" or something, I forget. It was a detective story. Then I was going up the ladder with Tomahawk and then Daniel Boone and then Congo Bill and I went up. Then I did Aquaman and the Teen Titans and then Bat Lash. Now with Teen Titans, I had done about 40 books both insides and covers. So when they wanted me to do Bat Lash, at that time Bat Lash came in at a time when all the Westerns were being deleted from TV. They were old hat. People didn't want to watch them anymore. But at the same time in Europe the Spaghetti Westerns were being discovered. Bat Lash came out at the time of the Spaghetti Westerns. Then when they found out it wasn't making any money here in the states because they were tired of that, but in Europe they couldn't get enough. Carmine said, "My God, these guys are so hungry for your westerns."

But, when I was doing the layouts for Bat Lash, they still wanted me to do the Teen Titans. So I had Neal Adams pencil one or two stories; Carmine penciled one or two stories and George Tuska as well. All the top guys were helping by penciling it and I inked it. Sometimes I couldn't put the time into it because of course they give you deadlines and when you're working against a deadline you can goof off the first couple of days, but you still have to make the schedule. (Chuckle.)

BDS: Oh, yeah. Especially with two books I'm sure it was challenging.

NC: Yeah. So afterward Bat Lash was discontinued and Carmine didn't want me to go to waste, so he put me on doing covers. I did most of the covers for the characters. I must have done about 400 covers.

BDS: Easily.

NC: By the way, I looked at it, and this is a repeat thing, because on one of the books they had me write the prologue, one of the Teen Titans collections I think, and when I wrote the prologue I said, "I think I've done enough comics to cover the ceiling of the Sistine Chapel and maybe one or two side panels." (Mutual laughter.) Because you know you take those pages, and you put them side by side, and they're something like 18" high and 11" wide or whatever, but you put them side by side, you can cover a whole wall with my Bat Lash work and after a certain length of time, I'd put them like cards. I'd tape them at the bottom and then when I was through I'd fold them up and put them away. (Chuckle.) But I had some hanging up. After a year of hanging up there they started turning yellow with age. So anyway a friend of mine bought the whole batch. In those days they didn't sell for much, though.

BDS: Right, no one had any idea that the art would be valuable later.

NC: Right. I remember one time I was someplace and I said, "Here, would you like a Batman cover for your wall?" They said, "Gee, Nick, I've got so much crap up on the wall now I don't have any room for this." Later on I used to get $60.00 or $65.00 for a cover. That's pencil and ink at that time. Then I found out in 2001 one of them went for $19,000.00.

BDS: Holy cow!

NC: I never got any of it. Whoever had it got it. And there's one collector who collects everything of mine, and he put me on TV. If you look up Nick Cardy, maybe you'll find it. He put up this thing cataloging all my stories that got put out.

You see I don't have a computer. If I had a computer, I'd never get any work done. You go to the computer and say, "I'm going to look up sales on suits at this place." So you look up the suits and they don't have what you want, so instead of cutting it there, you say, "Well, let me look at J.C. Penney," and you spend all day looking for these damned things and the next thing you know its lunch time. And you'd be surprised. Living in a day is sometimes like coming out of your bed and you get to one of these revolving doors. You go from one door and you go to the next door and you go to the bathroom, the next one you go to the kitchen, then you go to the studio and the next thing you're back in the bathroom and you keep going and you get a phone call and then figure you're making half a turn. (Chuckle.) And when you count the diversions that you have in a day and it's amazing anything ever gets done. I can get pretty absorbed in my work, too. One day I was sitting by my window drawing and I saw these people going by with a big package of things and they saw me and said, "Nick, aren't you coming?" I said, "Where are you going?" They said, "What's the matter with you? Didn't you know there's a hurricane coming?" So they said, "You've got to evacuate. Either go to a shelter, or take your car and drive." I called someone and they said to drive 40 miles away.

I decided to take a trip after I spoke to this officer. You can't overestimate the power of a hurricane.

BDS: Yes. I can speak from some experience, unfortunately.

NC: It's sad.

BDS: It's a very helpless feeling.

NC: I'm reminded of my tank story. It's not a new story, but I was in an infantry division, and when I was going across the Atlantic I got pleurisy. We were on an English ship and were zigging and zagging all the way over in order to not give a perfect target for the German submarines. So when I got to England I was in the hospital for about a month and when I got out this Lieutenant Colonel was interviewing people. He said, "I see you got a promotion from the infantry to the motor pool." I said, "I don't know how it got there." My General had said "We're not going to send him over there as a private. Send him over as a step up. Put him in the motor pool." When I got there I was a private first class and he said, "Oh, you're from the motor pool. Can you drive a tank?" I said, "I can't even drive a truck." So I felt like the nails were being put on my coffin lid with this stamp he was using on some paperwork. He'd stamp here and stamp there and it felt like the nails being driven in. So of course they put me in a tank and as the time went by I kept saying if you've ever been to Belgium and seen any buildings that didn't have corners you'll know I'd been there. (Mutual laughter.)

You drive a tank with levers and not a wheel. You pull the right lever and it locks the right wheel while the other wheel keeps going, so that's how it turns. Simple, child-like logic. Then we were moving positions, getting back to the original tank story, and my tank driver says, "Hey, Nick, I'll let you drive. You see the tank ahead? Just follow it. If it stops, you stop." So I did that and we were carrying an infantry outfit on the back of our tank. They would sit on the back where the ventilating system is. You'd be literally moving a whole infantry division with you. So when the tank ahead of me stopped, I stopped. At the second point I stopped again and at that second stop more troops were coming up on the tank. They were coming up the side and coming in the back and I was wondering, "How the hell many more can we hold?" Then I went again through two more stops and finally they said to stop. The driver went out and said, "Okay, lock it." So we locked it. There was a pause up ahead. I got out and there were some woods where we'd paused and I went back there to relieve myself and when I got back these guys were arguing with my driver. I asked, "What the hell happened? What's going on?" He said, "You know what you did, Nick?" "What?"

You must understand that when I drove, these roads were small, and these tanks were so wide that I put an imaginary white line, because if the traffic is coming the other way, I'd be blocking the whole road. Anyway, he said, "You were going so close to the trees, you brushed these guys off and they kept running after the tank to get back on." But he got the brunt of it. They chewed him out because they thought he was the driver. First of all, he shouldn't have given the job to me. These guys start out by going into the tank corps. Believe it or not they go through a hell of a lot of training. In my case, some guy must have been killed or something. I was a replacement and they put me in there and I didn't know what to do. I know I had a Tommy gun on the ground, a little machine gun that I could fire out of the tank, but I didn't know where the hell the ammunition was or how to put it in. (Chuckle.) I know they would have showed me, but meanwhile I'd hear, "Nick, there's a big fence we're coming up to. Just hit the fence as we go along because sometimes they have enemy tanks waiting behind the fence." So I'd do that and then when the ammunition ran out I just didn't have any more to shoot. (Laughter.)

So I went through three tanks like that. Anyway, that's the humorous part. Sometimes you'd have spots where you find we'd liberated one or two concentration camps. When they saw the American tanks come in, they'd leap for joy. They'd come running up to the front of the tank before it even stopped. The rumor from headquarters was that some of these guys died right after the Americans came in and fed them. Their systems weren't used to good food. You had the misery of seeing one house when we got to the Rhine and we went to this house and found a trapdoor and here are these women with babushkas on and oh, the terror on their faces. Women and children looking up at the trapdoor. It looked just like all heads. It was like a sardine can and they were terrified. Talk about getting someone scared like hell. We said, "Take it easy," but the enemy always pictured one side always pictured the other side as monsters. Propaganda.

Sorry for the tangent.

BDS: I don't mind a bit. I thought if you don't mind I'd ask a couple of technical questions as far as materials and things.

NC: Go ahead.

BDS: It looks like since you pretty much always penciled and inked your own work, were you fairly loose on the pencils? Was most of your artistry from the brush?

NC: Well, I'll tell you, I used to, many years ago, when I worked for Eisner, there was an artist called Lou Fine. He used to work with a Japanese brush. A #1 brush. The point was so long and so fine that you could get a line that almost disappears on you. It was so fine, and I got influenced by him. I also saw the pen he had, so I bought one like it. The lines were so fine and my anatomy wasn't that good. I was learning.

When I was a kid I had paintings that I did for the school that they published in the Herald-Tribune or one of those early papers. The teachers wanted one on sports. It was a 4 x 8 panel and another one did his panel. Mine was on sports and the others were on classroom activities. So that was published and quite a bit of the stuff was published, and boy, now I was a professional. So when I got with Lou Fine I tried to learn from his detail, but he was a better artist, in my opinion, than Bill Eisner. Bill Eisner's line was heavier and he was a better story-teller. Then I got some different brushes. In fact, at one of the conventions I was sitting next to George Tuska and he said, "Hey, Nick. Do you still use a #8 brush?" I said, "A #8 brush?" Are you familiar with brushes and their numbers?

BDS: A little bit.

NC: A #1 is very fine and it goes up the line and gets a little thicker and I was looking for when the hairs come out of the ferrule, that's the metal part, sometimes they have hairs that come to sort of a bulb and make a very sharp point and they hold a lot of ink. Yet you still have the fine point. So with the smaller brushes, they don't have that big a bulb. You just have what's on the tip of the ink pen and you get a sharp line. But when the ink runs out of one of those with the big bulbs, you have a thicker line. So I had a lot of brushes and at the time they may have been about $3.00, but in the past 30 years or so it's gone up to about $18.00 for a good brush or more. So I learned to get a heavier line to get away from the fine line because everything I did I figured you could hardly see the legs. I wanted more power. Then I got too powerful. (Chuckle.) Then gradually I worked my way and say I'm going to do a cover or any designs in a story, I would go to make an abstract figure. I would put a circle for a head for example. First I would put a design on the page where I would design where the picture's going. What I wanted to tell. If it's a motorcycle, I'm not going to put it in a compositional line that's vertical, like a church cathedral or something. You want to put it where the horizon shows and you get the speed of the vehicle or the action you want to do. So you make all these designs in the beginning without figures or anything and put a bar or something to indicate the figures. But you don't show a lot of legs and all that. You work it that way and then you do the black. If it's too heavy on top you go with a little darker spot on the bottom to work out a balance and all these things. That I did mainly for the covers.

Then it was a free for all. When they get a print it will be a black and white print and there are certain artists in there that do the coloring. At least that's the way it was before computers. (Chuckle.)

I hate to knock anybody, but every now and then they had a group of artists that did the coloring and it wasn't like with the computer You had to do it with ink dyes for your colors. They would do that with each page. So sometimes you'd tell them, if they don't have any artists there to tell them, sometimes some of the covers came out as if they called the janitor to say, "Here, finish this job up." But the majority of those guys worked hard to do that. It still wasn't like the computers, though.

In the beginning, when I was working for Eisner, for about five pages I was getting $25.00 a week. This is in 1940. At that time if anybody made $100.00 a week that was a hell of a lot of money.

BDS: You bet.

NC: And if you bought a home for $20,000, it was "Oh, my God!" Everything is relevant, you see. Things changed over the years. I was born at the time of the Great Depression where you were just living from hand to mouth. I didn't go to college or anything like that because I couldn't afford it. So instead I went to the library and I lived in Manhattan on Third Street. I would walk to 82nd street to the modern museum of art and spend a day looking at the paintings. I would take a little notepad and things like that. You would have some guys who would copy the paintings with paint. They would never let you copy the same size as the painting. It had to be either larger or smaller. Never the same size. Because they were afraid people would start selling them. But that was my education.

BDS: So you're mostly self-taught and natural talent.

NC: Yes and if I wanted a life class I'd go to the Art Student's League and for $1.50 you could spend the time drawing with your own pad and there was an instructor that came in who would walk around and check things out.

I used to know a guy who would sit next to me and whenever you had these models I would draw the figure and everybody else would draw the figure. Anyway it was some time later and I got a call from him and he said, "Hey, I'm having a one man show, do you want to come down?" So I came down and he had his paintings on the wall. Little abstractions. So we were leaning into the edge of the door. We had some line or something like you have at these parties and this little short man was showing these two beautiful girls around and describing what the painting was. "You see what the artist is trying to do? He's trying to come from this direction." And he's trying to build this thing up and we're both listening to him and these girls were enthralled. So my friend looked at me and he says, "You know Nick, I wish to hell I knew that when I was drawing it." (Mutual laughter.) This guy was going on a fantasy of his own and it was impressive. It sounded great.

BDS: What a line.

NC: One time I was drawing and I heard this guy on the television and I stopped. Everything he said was fantastic. He was talking about composition and what the impressionists went through and oh, it was great. And then there was a little commercial break and they came back on and he said, "Look, I'll show you what I mean," and he got down and he started drawing and what he was doing was awful. He couldn't draw at all. I think he'd have done better if he'd just continued talking. His talking was great, but his drawing was lousy. It was like a Picasso. Did you ever see Picasso's work?

BDS: Yes.

NC: He used to have these women in profile with both eyes on the same side of the head. So they had these two people, a man and a wife and he says, "Honey, there's a girl that poses for Picasso," and you see this girl walking down the street with both eyes on the side of her head. (Mutual laughter.)

But anyway, I feel I'm monopolizing this with a lot of oddball stuff.

BDS: Not at all.

NC: You were asking about the material. I hope I answered it.

BDS: Yes, that part. Can you tell me a little more about the brushes? The material, for instance?

NC: Oh, it had to be sable. Especially for those, because with the bristle brushes, they're better for painting or if you're preparing say for example if you're going to have a board, illustration board, and you want to have a one tone background, then you could use a bristle brush. You can do it very quickly and very lightly, but bristles leave a lot of it's like combing your hair where every other tooth is missing. You can see the streaks in the paint when you put it on. Unless of course you want it with that effect. I use the sables and the sables are very expensive. They were very good. When you had a sable brush and you pressed down to make a line, after you picked it up, the sable would go back into position. With the cheaper brushes if you're putting pressure on it to create a line say you're doing a fine line. Then as you're getting into the line you want a little more pressure on it and then to lighten up, a sable brush will help you on that. But if you have a cheap brush, as soon as you push a heavier line, that brush stays in that position. It doesn't go back to the point. That's why there are certain sables that are more expensive than others.

Now the Japanese, when they had their brushes, they had them on bamboo sticks. They had the hairs, and I don't know how they were conditioned, but they would tie a string in the middle of the hairs and they would twine the knot and it would go through the bamboo and when the hairs got to the other end they would pull those hairs that you're going to paint with to the brush and that makes the ferrule. Sometimes they would push it through a little stub and then that stub fits into a smaller piece of bamboo that fits into a little larger piece of bamboo. And if the hairs are getting a little short you can pull them out a little.

BDS: Clever.

NC: But they never work. When you pull them out, at least for me, they would lose their sharpness. But with me, every now and then, if I lose my sharp brush I always use it again because I had to work with texture. I would use a fine line generally for a woman's or a man's skin or a little heavier depending on the material of a shirt as compared to a coat or as compared to a fur coat. When I made the lines of a fur coat I just more or less put ink in the brush and then pat it down on a dry pad so the hairs would come out. No point at all, just hairs and I'd do the lines with that. Then I'd make it come out a little hairy, you see. Then the other lines would come out less heavy.

In all my art that I've done, every month, my work would look different. Because I had what I would call a mix-master. Now bear with me. This is a silly old man talking. I had a mental mix-master that, if I liked the drawing of two or three different artists that drew faces well, or do women's hair well, I would try to copy them in a sense. Then I would go from one to the other and then I would put that in my mixture. In the pot. Then I would go somewhere with somebody else who doesn't do the faces that well, but does the figures beautifully. I would take what I learned from him and put it in the pot. Those would be my building blocks. I'll take from Degas, I'll take from Michelangelo, the body, I would take all these where you'd need anatomy, anything that I needed, I'd put it in the blender.

After about a year not even a year, you change that and get a different blender. Because if you stay with the blender, you'd get like where so many guys would just copy the style of Terry and the Pirates or Flash Gordon or Prince Valiant by Hal Foster. They'd copy these different guys and they'd never get out of the groove, so they don't become original. They become imprints of their master. If you change it, then you build your own.

I never knew what my style was until one of the artists came in and I asked him, "How the hell do you know I drew it?" He said, "Oh, I can tell your style." What was his name? His name was Katz, but he changed it when

BDS: Gil Kane.

NC: Gil Kane, yeah. We went to school together. Gil Kane said, "I can see your work." A lot of other fellas, you could see their work, but I tell you when you go into the comic business, you're going into a place where there are a lot of artists, a lot of writers, and it's like walking into a physical maze where you walk in and out and nobody praises anybody else. You know what I mean? It's a battle of egos.

BDS: Because of competitiveness?

NC: Well, yeah, and also , with me, there were people who liked my work, but they never told me.

Julie Schwartz one time wrote in one of my books, you know when people write things they know about the artist, "Oh, I know him," that sort of thing.

BDS: Oh, the foreword?

NC: Yes. His article was "Well, the thing I remember about Nick Cardy is that he came in one day with a cover and he showed it to Carmine and Carmine said, "That wasn't the layout I gave you," and Nick said, "No, it's better," so Carmine said, "You're fired." Then supposedly I turned around and walked out and then Julie told Carmine, "You know, it's a beautiful cover." Carmine said, "All right, you're hired." So when I met Carmine at a convention I told the story and he said, "Nick, that's so stupid." We always got along. He respected my talent and I respected his opinion, because it's a matter of when you have two heads, sometimes you get better stuff done. So I said, "Look, Julie's right down there trying to sell his book. Let's go see him." So we went down and I told him the story and Carmine said, "You know how I feel about Nick. We never said that." So Julie looked up and he said, "Well, it was a nice story anyway." (Mutual laughter.) He had a way of brushing things off. One time there was an artist friend of mine whose work I like very much and he was a gentleman. I met him and his wife at this motel in San Diego and we went down to have dinner at the hotel. Julie was sitting at the table and I sat at the table and we were talking and then these two people came. They hadn't been to San Diego in years and he came up there and they were older friends that he'd known for a longer time and this other guy's wife said, "Oh, Julie, you know I'm going to be a grandmother." He said, "I've got 4 great-grandchildren." She said, "Yeah, but you're old." And that was the first time I ever saw Julie Schwartz quiet. He didn't have a comeback!

But nobody said your work was nice in the comic business. They were afraid you'd ask for a raise.

(To read part two of this interview, Check the August, 2011 listing of Witterstaetter Writes. For information on ordering the book "Nick Cardy: The Artist at War, go to: www.evainkartistgroup.com)

Eating Manhattan: Bombay Talkie! Give Me Something to Talk About

2011-08-18T10:11:00.000-07:00

I feel rather guilty...

It is after all entirely my fault.

You see, I had an appointment at the Chinese Embassy to get a Visa, I was rushing to get out of town for Wizard Chicago, but I still wanted to see my friend Ric for lunch, say a belated Happy Birthday, and experience something new on our nosh outings in Manhattan.

He wanted to go someplace completely different-- establishments called "Extra Virgin," "Blue Smoke"... one of those places.

But the trek would have meant my having to lug luggage with me across the known universe of the island, and shoehorn it into the usual tiny eateries we frequent.

Then, it dawned on me: I had a coupon!

Not just any coupon, but a Groupon Coupon.

Let me explain. If you don't know about Groupon, it's fantastic. Each day you get offers on restaurants and events in your area, with savings of up to 50% off, sometimes more. I'd seen this restaurant, "Bombay Talkie" on the same street as my office for some time, and had wanted to try it. So, when Goupon offered $30 worth of food and drink for only $15, I bought the deal, and filed it away for future use (always check the expiration dates, they do vary).

I made the suggestion to Ric (because selfishly, it fit my needs), and he was all for it. An adventure is an adventure after all.

Sigh...

The idea of Bombay Talkie did sound inviting. Advertised as a new age Indian restaurant with a hip Indian movie themed decor and menu. I remember when it first opened, wondering how the fare would compare to my regular haunts on East 6th Street (the NYC mecca for good AND cheap Indian food for decades).

I was about to find out.

When you initially walk up to Bombay Talkie you first notice all the awards lining the window. That's a good sign. Right?

Arriving before Ric, I picked a window spot, and glanced at the uber-hip Indian movie related paintings adoring the walls of the tiny place. one depicting a lady getting dressed after what was obviously a tryst.... probably some scene from a movie I don't know... not being versed in Indian movies... but who knows.

Yes... this was certainly not "my mother's Indian restaurant (although I don't think she's ever tried Indian food...)." It was also certainly not one of MY 6th Street eateries either...

I was told that normally that BT has a buffet for lunch line (never the sign of a healthy place), but not today, so we'd need to order from the menu. However, they would let me use my coupon, which was normally just for dinner (I didn't know!). That was terrifically nice of them. In fact, the waiter was nice throughout, I have to say.

It was easy to make our choices. Everything on the menu sounded terrific.

A selection of appetizers (Or "Street Bites", as they called them), seemed in order:

Papdi Chat--Crispy flour purses stuffed with potatoes and chickpeas with a tamarind and yogurt sauce ($7.)

Kathi Rolls-- Flatbread served with chutney and mint lamb ($10.)

Ginger Pork Kababs--Crispy pork marinated in garlic, chiles and ginger ($10)

Dosas--Stuffed rice and lentil flour crepe served with tomato chutney and spiced lamb ($10)

We followed this with one entree to share (Or "From the Curbside" as they called them):

Malai Kofta--Dumplings stuffed with nuts, raisins, homemade cheese, and coconut in cashew yogurt sauce ($17.)

I always start with the negatives, if there are any, and try to leave with the positive. So here we go.

We knew we were in trouble when the Papdi Chat arrived and we bit into something we expected to be hot. It wasn't. It WAS icebox cold, and the yogurt oozed out in a globby mess with each bit. In fact, the yogurt overpowers the purses completely. We were so taken aback by the abruptness of the dish, that Ric asked if it was "meant" to be cold. We were informed that it was.

The Kati Rolls were okay. Somewhat flavorless, but a dab of hot sauce sparked them up nicely. Expected more flavor from the lamb, which seemed pre-cooked. End of notes.

The Ginger Pork Kebobs were no-doubt the worst. The meat had been cooked so long, it was like inedible beef jerky, and resembled dried things I've seen in dusty bins in Chinatown. To add insult to taste bud injury, it was served on a bed of BROWN iceberg lettuce that should have never seen a plate. Really?

And the main dish, the overpriced, small serving of Malai Kofta--presented in a jaunty square bowl to remind us of how hip we were being by not eating on 6th Street-- had the texture of meatballs, not dumplings. These may have been okay (albeit mushy), but all you could taste was the sauce (which wasn't half bad at half the price.)

The only dish I'd recommend truthfully, if you should find yourself sitting in Bombay Talkie for some reason, is the Dosas. I did like this. The crepe was crispy, the lamb tasty and the serving ample. I could see having a few of those with a glass of wine or beer and being happy. They come in varieties of lamb, beef and vegetarian.

The refreshing Lychee/Kiwi drink that Ric ordered, was also great, but overpriced at $7.

Speaking of wallet matters, even with the Groupon Coupon as the bait I needed to walk in the door, the final tab of $70. was spilling over the top for a lunch time stop! Yikes!

Sadly.... and really.... I thought this would turn out differently... one dish out of five, means I just can not recommend Bombay Talkie.

Ric and I paused briefly outside to look over the awards in the window. With closer inspection, I now saw that they started circa 2006, and the last one for the Micheline Guide (which was more just a listing) was 2009. Remembering the scratches and scuffs on the walls, and the lackluster plating with brown lettuce, made me wonder if Bombay Talkie's heyday was sometime in the past as well... If I'd missed something truly extraordinary when it first opened, that had somehow now been lost.

It was as if someone was following a list of ingredients, with no idea what it was that originally took that simple list, adding some secret spark, that would turn it into something wonderful...

Had it been sold? Had the chef left? I have no idea...but something happened here of mammoth restaurant portent.

Now those promised positives:

What I can see this place as being good for is a West Side tapas stop, ala San Sebastian,Spain -- jumping from place to place for one drink and one nosh. And yes, I can only recommend the Dosas for that. The atmosphere might also be great for a quick drink before dinner (somewhere else) or the theatre, or for a business meeting, since the atmosphere was fairly quiet.

Oh,and,the puffy bread was impressive in it's puffiness.

As we left, Ric announcing that he had to head to the Chelsea Market to buy some ice cream to cleanse his palate, said, looking for a silver lining: "Well, just for the record, I didn't totally hate it."

Yeah....

I told Ric I'd pick up the tab.

It was the least I could do.

(Bombay Talkie is located at 189 9th Avenue in Manhattan. Note: Prices on website are lower than menu on premises. Lunch hours available, but not listed on website.)

Part Two: Nick Cardy Interview on Silver Age Sage!

2011-08-15T07:55:00.000-07:00

Hey Ya'll-- Here is Part Two of a great interview with my friend Nick Cardy, over on "Silver Age Sage." He talks about his career, as well as our new book together, "Nick Cardy: The Artist at War."

The original link is at: http://www.wtv-zone.com/silverager/CSHTML/sas.shtml

Also presented below!

The book can be ordered from: evaink@aol.com or via our website at:
www.evainkartistgroup.com

--Renee
:-)

(In the photos above: Nick Cardy receive the Hero Initiative Lifetime Achievement Award at the Baltimore ComiCon 2008; Nick Cardy with Renee Witterstaetter, Howard Chaykin, Michael Golden and Herb Trimpe at the Baltimore ComicCon, 2008; Robin Dale, Renee Witterstaetter, Michael Golen, Nick Cardy, Nick Barrucci, and Todd Dezago at the Harvey Awards at the Baltimore ComiCon, circa 2008.)
__________________________

My continuing comic book education received a "two-fer" recently when I discovered that I was under the misimpression that Congo Bill was a backup feature. As it turns out, he had his own book that had a short run from issue #1 in August/September of 1954 and ending with issue #7 in August/September of 1955. Furthermore, the story I'm going to review for this edition of the Silver Age Sage shows that the concept and name of "Gorilla City" didn't begin in the pages of the Flash, but in Congo Bill (with Janu, the Jungle Boy) in issue #6 (+ back cover) from June/July of 1955. "Gorilla City! was written by George Kashdan and edited by Whitney Ellsworth, who created Congo Bill and friends. Cover and interior art came courtesy of Nick Cardy. I'd also like to note that the cover and splash page are virtually identical and that Congo Bill certainly reminds me of a young Nick Cardy, at least as he's seen on the cover of his new book, "Nick Cardy, the Artist at War."

The story opens in the jungle, naturally, where Congo Bill, Janu and Chota the Chimp are making camp for the night. They observe stampeding wildlife that have been startled by a shooting star.

The next morning as they break camp, they're surprised by a group of gorillas that surround them. Janu and Chota try to communicate with the primates, but to no avail. To Congo Bill's great surprise, the apes bind them with ropes and march them off to a village. Janu notes some charred ground outside the walls of the village before they're escorted inside.

Then things get really weird. Two gorillas are recording the proceedings with motion picture cameras! Next they're brought to a hut where they're greeted, in English, no less, by the leader of the apes, who notes that they learned the language from radio transmissions.

Before dismissing the "guests" the gorilla asks Congo Bill why he didn't use his gun, to which the jungle master replies that it's broken. Arnn, who is mechanically inclined, is summoned and soon has the pistol in working order.

In the confinement hut, Congo Bill and Janu try to make sense of things, theorizing and discarding notions about the gorillas being the result of an "A-bomb" test, simple training or accelerated evolution. Before they can come up with anything plausible, though, they are again taken back to the head gorilla who gives them a task.

He explains they'd been here before and left behind a radioactive box containing records of their science and history and they need Congo Bill's help to find it. As luck would have it, the adventurer happens to have a Geiger counter with him and soon locates the box. The gorillas then depart, leaving Congo Bill, Janu and Chota alone and still somewhat baffled, when Congo Bill comes to a startling revelation.

The shooting star, charred earth and other clues could only mean that the gorillas arrived via rocket ship. Dashing out to a clearing, they witness the space craft taking off, confirming the theory of the gorilla's origin. He also remembers the leader mentioning two moons and since Mars has two moons, they've just met Martians. In the closing panel, Janu asks Congo Bill what they'll tell the people in Coast Town and he replies that they won't tell them as they wouldn't be believed. "This is a story of the jungles that shall never be told!"

Obviously the Gorilla craze at DC was getting a head start back in the Golden Age, thanks to stories like this and of course Lew Schwartz's "Gorilla Boss of Gotham City." Nick Cardy's realistic art and attention to detail really shines through in this classic story. It's a shame these Congo Bill books are so hard to come by and so expensive. A recent eBay search yielded only a handful and I think nearly all of them exceeded a hundred dollars or more. Thank goodness for reprints.

I know you've been waiting, so here is the conclusion to the Nick Cardy interview:

Bryan D. Stroud: Okay, that kind of makes sense. It seems like that was a big part of the business, trying to keep costs down.

Nick Cardy: Well, when I did the Teen Titans…you've seen the Teen Titans, haven't you?

BDS: I sure have.

NC: On one of the Teen Titans covers I did a Christmas tree and the story was about Scrooge. I was reading that and so my editor says, "Hey, Nick. When was the last time you got a raise?" I said I didn't remember. It had been quite a while. So he said, "Let's talk to the guy and see if we can get a raise." So we went to see the boss and he said, "Nick's been here for 20 years and he hasn't had a raise." So the guy said, "Well, you know, we're trying to cut back and get rid of the deadwood," and there was no raise, so we walked out of there and I figured, "I'm going to do a bang-up job," and it was that Christmas issue cover that had every little pen line, every detail. I put a lot of crap in it.

BDS: I remember it. Beautiful job.

NC: I liked it. Only on some parts, the color was off, but it was done by a colorist that I liked and he had more experimental looseness. So I told Carmine I was going to do this cover and then I'm going to quit. He said, "Hang in there, Nick. We're going to have some changes." And the changes were that they made him president.

Carmine was always fair. A lot of guys liked him, but the editors were mainly the big wheels and the intelligentsia of the comics. The artists were always one step above a floor walker. (Chuckle.)

Unless you were very good, then you would be something they'd point out for other artists. "Can you emulate this guy?" And there wasn't that much. One editor, for example…and this is a repeat. I've said it so often. I was doing Congo Bill, and Congo Bill and his sidekick, Janu, in those days they put sidekicks with the superheroes so this way the younger kids would get an interest and read them, too. So Batman had Robin and of course there were others, too.

Anyway this Congo Bill came to a plain where they were supposed to cross and at the end of the road in the dialogue, Congo Bill tells the kid, "We can't cross the plain right now because the rhinoceros is charging to get the zebra for his meat." So I tried to tell them, "You know, you can't do that because a rhinoceros is herbivorous. It doesn't eat meat."

BDS: That's right.

NC: "What are you trying to do, break my chops or something?" Then I just decided I'd let it go. They were the boss.

Then in the same issue they were going into another plain and they wanted to get out of there. They were trapped. Something was coming up behind and he said "Look, Janu, you jump on the back of that hyena and run and get help because the hyena is the fastest animal in the jungle."

BDS: (Laughter.)

NC: There again I went to this guy and said, "You know, I hate to say this, but the Cheetah is the fastest animal." And it was, "You again? What the hell?" And then when the thing was published I got the mail saying that I didn't know anything about animals. This guy wouldn't change for anything. His mind was made up. "You low life. You peasant. You can't talk to the boss like that. You can't tell him what to do."

It was then that I understood why they call these people peons. Because everybody pees on you. (Laughter.)

BDS: That's right. You're always wet. (Mutual laughter.)

NC: When you're dealing with people in business, quite a few of them are good. The majority are nice guys. But every now and then the people with business in mind carry the green flag with the dollar sign on it. They're thinking about keeping that company going. Whatever profits they have, which they're entitled to get, but one time I had several artist friends I worked with and I had an agent at that time. One guy was a photographer and he would take say an Oldsmobile or a Cadillac and he would see the photograph, but he would airbrush the car in the way that he did it and it would look spectacular. Then they gave it to a different artist to do part of a little Italian villa building. So they had a guy do that. Then after he was through they had a guy who did figures that were in the doorway of that piazza, sort of leaning on a rail, looking in awe at the car. It was a beautiful illustration. So when they showed it to the guy at GM, he said, "That's fantastic! One of the best things I've ever seen. It's beautiful!" And it was. It was a beautiful job. Then came the "but." "But I was wondering, could you possibly turn that car about a foot to the right?" (Mutual laughter.)

Now these are intelligent men. But somehow they figured the artist could do anything. (Chuckle.) How are you going to turn the thing? This is before computers. With the computers they could do it, but then… That's the sort of thing you had to deal with. Sometimes they would give you a layout, like I went to an agency and the main art director gave you stick figures because this was a soap opera. They were selling soap or whatever it was. In the Sunday pages they had about two or three rows of these commercials that the artists did. So he'd do something with stick figures and so you modeled the stick figures and you did imaginary drawings and you made those stick figures come to life. Then when they took it to the photographers to have them photograph the models, they used what I did as a guide. If it was art, that was different, but if they wanted to do a television commercial they would use that as a guide. They would then photograph their models according to that. When you get through the man who's going to but that thing goes up to see the art director, and he said, "Oh, this is nice. Did you do this?" He said, "Yeah, I did that." And all he'd done were the stick figures. So if you try to step up the ladder too fast they were quick to slap you down.

But I was in luck. The agencies I worked with were fantastic.

BDS: It looked a little like some of your work might have been done with a grease pencil. Is that true?

NC: You mean the paint lines didn't look clear? It looked like a pencil line?

BDS: It just looked like it had the texture of a grease pencil.

NC: Did you follow a pencil line that felt that way or was it a brush that faded?

BDS: I wasn't really sure. Probably the brush.

NC: Well, what happens is sometimes when I do a figure or a line and I want the line to fade a little I would have full ink in it and then I would know when a brush was getting dry and I would go that way and it looked like it faded. I didn't use grease pencils because if you went over that with watercolor the watercolor would never react to it. It's like working on wax with watercolor. It beads.

BDS: It couldn't adhere.

NC: You could go over some of them, but it disturbed me, because it was something I couldn't correct if I wanted to correct it. It was like a permanent thing.

BDS: You seemed to be the perfect artist to work with Bob Haney's scripts because he had a lot of action built into them. How was he to work with?

NC: Bob was a nice guy. I liked him. We were friends. The last time I met him was in San Diego . He went to live in Mexico and he used to have a beard. But Bob Haney, a lot of his strength was in the 60's. They had the sayings, the lingo. It's like you're reading a comic book and the kid comes up and says, "Oh, whoop-de-doo." Well you know the whoop-de-doo doesn't fit today. But he had a lot of sayings from the 60's that he kept on using into the 80's.

BDS: That doesn't work very well.

NC: His stories were very good because he did a lot of writing and they kept him busy. But unlike some of the other fellas he had the dialogue of the 60's.

BDS: He just couldn't break out, I guess.

NC: Well, let me put it this way: He had a lot of success with that, so he stayed with it. And there are some guys, like Mike Sekowsky, where he had his drawing down so pat he could have made a patterns for clothes. And he didn't write.

There's a story with Mike Sekowsky. I always get a kick out of this because I love repeating, because it's funny to me. But maybe the people are tired of it. Roy Thomas says, "Nick Cardy's a fine artist, but Nick, try to change to some new material." (Chuckle.)

BDS: Well, I haven't heard the Sekowsky story, so please.

NC: Okay. Mike Sekowsky and I came in and delivered our jobs at the same time. 24 pages. Murray Boltinoff, the editor, looked at Mike Sekowsky's drawings and said, "Mike, I love your work, but this is one of the lousiest jobs you've ever done." Mike said, "Well, I thought you were in a hurry." "Yeah, but this awful." So Mike said, "Well, I pushed it a little." So Murray gave him another script and he gave me another script at the same time and sent us on our way.

Mike was just recently married and he asked me over for dinner, and as I left, there was a little bookcase right by the door and on it were the 24 pages of art. It was for the script we'd got just a while ago. He was fast. He had it all finished. I said, "Is this an old strip?" He said, "No, that's the one I got last week." 24 pages. And so he's waiting a little while until he gets a chance to go downtown and give it to Murray. So it was longer before he took it to Murray Boltinoff and this time he says, "Mike, you're fantastic! This is great! You see what happens when you put more time into it?" And he'd put the same amount of time into it as the other job. The only difference was that he held off on the time he turned it in. (Mutual laughter.)

I did feel sorry for a lot of these editors. They had a pecking order. Every company had a pecking order.

Mike Sekowsky made me his buddy. And I'd have wanted to be his buddy, because he was a big guy. He had white hair and he had pale blue eyes and features that were a little pinkish and sometimes when he'd get a little excited, more red. It looked like he was getting angry and puffing up and getting ready to blow.

One time I was in a bar across the street where the people would go after work from DC and there was a customer giving one of the bartenders, who always knew what we wanted to drink, a hard time. I said, "Mike, you going to catch the train?" "I'm going to wait around." He's looking at this guy and he was holding the rounded edge of the top of the bar. And his fingers were getting white. So I started backing up. I didn't want to be around for the explosion. (Chuckle.)

And there was another guy who used to work there. He used to have a habit, and I won't mention his name, but he used to have these girls sitting at the table and he'd have an arrangement. When he wanted to make a good impression on this girl, he'd be talking or drinking with her; this was after work, and the guy says…he'd have some artist call him and say, "Hitchcock's on the phone for you," and he'd say, "Tell him I'll call him back later." (Mutual laughter.) When he'd do that I could see the girls' expression and it was like, "Oh, wow!"

One time this same guy invited me and a few others to his new house in New Jersey. He had a big pool there and said, "Bring your suit." So there were a lot of guys there and we were swimming around the pool and some other artists that came without a suit, they came with their wives and sat on the benches and were talking and then when the party was over I was invited to someone's wedding and I was going along the buffet table and behind me were two Greek women dressed in black and they had black veils or babushkas over them and this one woman popped up and said, "Hi, Nick." I turned around and it was one of the wives of the guys who had been sitting and talking by the pool at the other party. And she said, "Oh. I didn't recognize you with your clothes on." And these two women in black made the sign of the cross and took off. (Laughter.)

It was like the old vaudeville they had in the burlesque houses and you'd have two rooms and in one room was a guy trying to fix a trunk or packing a trunk up, he and his wife, and another couple would be coming down the hall and are about to knock on the door, but before they knock they hear, "Did you get it in?" "I'm trying. I'm trying." The guy is sitting on the trunk trying to close the lid and you can see that on the one side, but on the other side of the door…you know. It's a double entendre.

You can't really worry about what people think. I tell you. After I got shot in the war…I got wounded twice, and I figured once I get home, I'm not going to worry about a damned thing unless somebody is shooting at me.

BDS: There you go.

NC: Because life is too short. This is another thing I've said. This, again, is a repeat. They're going to say, "You know, we've heard that story before." But people want to hear it. Did you ever have situations in your life where you got really a lump in your throat? Where it was such a shock or so surprising or something that it really took you back?

BDS:Oh, yes.

NC: Okay. So mine was when we were coming back on the freighter after the war and we went through storms for a whole week, bouncing around on that boat and when we finally stopped, one of the guys said, "Hey, Nick, can you take a couple of the guys and police the deck of cigarettes?" It was very early in the morning. I went on the deck and there was a fog and we were angry. There was nothing there. I couldn't see where the hell we were. We could have been in San Diego, we could have been on the tip of Long Island. As we were policing, the fog started going down and I looked up and there, right above my head, was the Statue of Liberty and she was holding the book. Talk about a lump in your throat. After three years, you know? It was all worth it, and that kind of thing stays with you.

BDS: I can appreciate that. I know that when I was overseas, my best friend there was an Army Captain in the Transportation Corps and he had a favorite phrase that sound like a similar philosophy. Any problem that came along, he said, "Did anybody die? No? Then we can fix it." I thought that was the right perspective.

NC: Oh, yes, because did you ever find yourself in someone's home where they're having this big fight and you're a bystander? You don't know what the hell to do. I always figured it was so much a waste of energy. I know that when people live together, sometimes they crawl up each other's back. Especially if you're an artist or a writer, because you're always home. When I would get a script, I'd sit down in a chair and I could read the script and write on the side what my direction would be. I'd be relaxing, but in the same room my wife would start up a vacuum cleaner and start cleaning up and I'd have to pick up one leg and the other leg and here I am sitting and she's doing all the work. I felt guilty, so I had to go in the other room. (Chuckle.)

It wasn't fair, because when a person goes to work, they're about 8 hours away from home. But when you're home all the time, you add those days up and instead of living 5 years you've lived almost 10 years together. You see what I mean? But anyway, when you get my age, all these little piddling things, you find they don't mean anything.

BDS: (Chuckle.) I'm very slowly beginning to gain a little bit of that wisdom myself. Did you have a favorite editor that you worked with?

NC: Well, I'll tell you. The one I had, he died. He was a nice guy. He was very good. He gave me leeway because he trusted my judgment on the art and if I wanted to change something and make it 3 panels or 4 panels and I'd tell him and he'd say, "Sure." His name was George Kashdan. Now did you mean writers or editors?

BDS: Both, actually, so please.

NC: Well, Kashdan was the editor and sometimes he wrote stories. But Murray Boltinoff had a good brain, but guys who had been there a long time always passed the buck to him. He was a very quiet fellow. He was very serious. He didn't have anything funny to say. When something funny happened, he'd have this smile on his face, but he wouldn't go hog wild slapping his leg or anything. But he was a nice guy as I got to know him.

The only trouble that was a mystery with him was whenever I was in his room one time he says, "Nick, come with me." I said "Where?" He said, "Come on. Come with me." We go to the bathroom and he's standing at the urinal and I said to myself, "What the hell am I doing here? I don't have to go." But when you're there you get the urge to go. (Mutual laughter.)

So one time Ramona Fradon and I were on a panel and they were talking about the editors and I had just spoken about Murray and told this incident about the urinal and she said, "Well, I liked Boltinoff. He was a nice guy." I said, "Did he ever ask you to go to the bathroom with him?" She looked at me and said, "No, he didn't." (Mutual laughter.) I feel like if you can't get a laugh in life, what the hell good is it?

BDS: Now you did manage something that a lot of your peers wanted to do when you got onto some syndicated strips.

NC: Oh, yes. When I came out of the service I had decided not to go into comics. I was working on my portfolio to go to be an illustrator. But in those days I used to go to the Illustrator's Society. I wasn't a member, but I'd go there and they would have the originals hanging on the wall. I looked up how many artists that they had at the Illustrator's Society. At that time they had about 400 artists that were very good. Half of them were at the very top. The rest were very adequate and I figured, "How am I going to compete with these guys?"

So I finally broke it all down carefully and I came to the ones that had humor and there were few of those. And some of them, when they were humorous, a lot of these fellas didn't do the originals from their head. They did them with models that they'd photographed. In my case, I couldn't afford to photograph a model, so I did everything. I did caricatures, for examples, of celebrities, but I didn't go overboard. Like the guy who used to do the caricatures for the New York Times. I forget his name. He was fantastic. He used to hit it right on the head. He'd do Katharine Hepburn and you could tell it was her. But my God, when he had a point to exaggerate, he'd exaggerate it. There were these three models that were beauts, and this lady that was on in years, she came along with them and my wife had a habit that got me annoyed in a sense. I wasn't really angry, but I'd show off a drawing. So she said, "Hey, Nick, why don't you draw caricatures of them?" So I made caricatures and of course when you make a caricature, you exaggerate.

BDS: Yes.

NC: If the mouth is bigger in proportion to the nose, then you make it bigger, and so forth. And when they showed it to the girl, it was, "Oh, yeah, that's nice." These were the kind of girls who could never go by a mirror without stopping. Or even a store window. So when I did this, they saw these distortions and it was, "Oh, that's nice," but with the old lady I left the wrinkles out and she thought I was St. Peter. (Laughter.) And you could see the light in her eyes. "Oh, my! That's beautiful!" I'd tucked her chin in and I'll tell you, I'm a fantastic plastic surgeon. (Mutual laughter.)

BDS: You made an instant fan there.

NC: Oh, yeah. I could make them really ugly and this guy from the Times I was mentioning, he could do it, but he had the likeness and he hit it on every one he ever did. He'd do that every Sunday on the Times page.

But with my wife, the last time we did it, her younger brother, who was married and they'd just had a baby and she said, "Oh, Nick. It's adorable! Why don't you do a drawing of it?" I said, "It's too small. They all look like Winston Churchill." They do! Have you ever seen a picture of Winston Churchill? They all look exactly like that. If you take out the cigar and put a pacifier in there, you've got it.

So I did the pencil sketch, but she had 14 cousins or so and it was, "Oh, how nice. Could you do this on my son?" It just kept going on and I had to do it for people I didn't really like. They didn't like me, but they took it anyway. And I did some of the parents, and after it was all over I did about 40 drawings without getting a cent. (Chuckle.)

BDS: Oh, geez. You started a new career there.

NC: Well, at least I like drawing faces, but then there's sometimes I used to take my work to a vacation. I worked in every room in the house from the basement, usually, because it was the coolest. They didn't have air conditioning. Sometimes I'd work up in the attic and you'd hear all the laughter in the yard or sometimes I'd be in the cellar surrounded by all the preserves in the jars. (Chuckle.) After a while I began to feel like a preserve.

BDS: Hard to get a good light source, I imagine.

NC: You had to bring your own. But, that's part of life, you know?

BDS: When you worked on the Batman strip, how did that assignment come about?

NC: What happened was when I came out of the service, as I mentioned before, I wasn't going to do any comics, so I was doing covers for some magazines. They weren't the big magazines, but they were paying a fantastic price. $100.00 or so. Just about the same as a model. You'd pay the model $100.00. With a model it's different. You're informing the people that they like your work. But then you could get the original back and you could sell it. In the old days they used to put them in the trash can.

I met a guy who was a production manager that had a little garbage pail and he had all these stacks of pages and he'd tear them up and throw them in a bucket. He'd tear them in half and throw them into the bucket. Then I saw this big lineup. He had all these stacks of drawings going up about 5 feet high. When he left I'd pull out the Teen Titans and Bat Lash and took them home with me.

BDS: Good for you.

NC: They never gave them back. Then when you get them back, you can save them, but at that time they were just going to be torn up and thrown away. At that time they felt they had the right because they paid me for it. What they're really paying for is production rights.

The thing is that if you know how to talk legalese, where a period or a comma make a big difference…well, let's just say it's a good idea to have a good agent.

So when I came back I started doing my samples and then I did some of these covers and that was to pay for the expenses. Then someone called up and said, "Nick, could you do the daily strip for Tarzan?" Burne Hogarth was the writer at the time and through him I would get a script and I did Tarzan. After that, I did the Casey Ruggles strip.

I had a book out and I was going to make a cover. It was all daily strips that I had done and some that weren't sold and any art that had to do with dailies. I was going to have my cover with me in the nude and I had my arms wide and daily strip went right across my crotch and I was holding it at both ends. The title was, "Nick Cardy Strips."

BDS: (Laughter.) Very clever.

NC: I never used it because I figured people would think, "Boy, this guy's really a dirty old man." I wanted to be safe and innocent, but I wish I had done that cover. Someday I'll make a sketch of it and show it.

The book was done in paperback and printed in Canada and I think it's out of print. It's very hard to get one of those books now. Have you seen my book? The last one that came out?

BDS: I haven't managed to get a copy yet. It's on my list and I'm aware of it.

NC: Sometimes my books have the same covers in them. They try to get me to change things, but the last one was where I have some stuff from the portfolio and I have some war scenes and some of the advertising work I did and the western paintings. It has a bunch of stuff. So this one here…the one that's coming out, is stuff that's never been seen before. It's all from combat. Then Renee and I are contracted to do several other books….one is feature the humorous things I've done.

BDS: That would be a treat.

NC: Then another one that Renee is doing…I have about three western paintings and they're 24" x 36". Real oil paintings. Using that along with Bat Lash, we could make a western series.

Now I got a check for one of these covers and my God, now I'm getting money where I could have used it 40 years ago. (Chuckle.)

BDS: I'm reminded of an interview with Paul McCartney where he was being honored with a customized guitar and he said something to the effect, "I remember when I couldn't afford one of these and now they're giving them to me."

NC: It's just like in the Army. I was in the Army and I got to drawing a little and this Red Cross nurse came along and she saw my combat sketches and some of my drawings in my office, the duffel bag, you remember, and she said, "Can I borrow this to show at an exhibit in Paris?" I said, "Sure," but I don't know where the hell it was exhibited. But then I got an offer from the Army in the information and education department that said, "You're an artist. We can use you." I said, "Were the hell were you three years ago?" When you're in one of those positions you're dealing with people who are just Army people. You don't have to do any shooting. I was an expert with a rifle, but as far as cleaning it, forget it. (Mutual laughter.)

BDS: It seems like you would have been a natural to work on Eisner's P.S. Magazine.

NC: Well, I called him and he said he wasn't involved in the hiring and couldn't do anything about it. He didn't want to rock the boat.

BDS: Are you still going to conventions?

NC: San Diego invited me this year, but I had fallen down. I was carrying some groceries up my stairs in the carport. The concrete driveway. As I was on the second stair the wind blew the door into me and I had both arms full of groceries and I fell backwards on the concrete. It took me awhile to get up. I didn't want to get up too quickly because I'd bumped my head. I wanted to get up slowly in case anything was broken. I didn't want to aggravate it. I got up fine, got into a chair and called my doctor and he said to come over and he'd take a look. But then when I went to lie down on the bed…when you go to bed, you sit at the edge of the bed first, then you wiggle back and sling yourself into the position in the middle where you'll get comfortable. So I sat on the bed and tried to get my feet up, but I couldn't because pain ran from the top of my head all the way down to my toes.

BDS: Oh, no.

NC: So I stayed in that one position. They took X-rays and everything else and then it got to where I lost weight and my hand wasn't accurate any more. It was shaky. It took about a month or so and I had to stop going to conventions. Because if I got up too fast and turned, it could be a problem. I didn't want to go to the airport myself. The only thing I was thinking was that if I go to the airport I'm going to fall down and I might as well bring a hat with me. This way, if I fall down, the hat will be in my hand and when I'm on the floor people can drop whatever they want into the hat. (Mutual laughter.) Make it pay, you know?

BDS: Are you still doing commissions?

NC: I do some. Most of them are recreations of covers that I had done before.

BDS: I'm sure those are very popular.

NC: A lot of them are from Bat Lash, but the sad thing is that every now and then you do a cover or a drawing and you charge a certain amount…a lot of the artists get pissed off because say you did a drawing and charged $50.00 for a quick sketch and then they will send it to eBay and get maybe three times the amount for it.

BDS: Flipping them. Yeah.

NC: A lot of artists got angry about that, so they boosted up their prices. Meanwhile the poor guy that just wanted the picture to hang on the wall in his house had to suffer.

BDS: Everybody pays for the few bad apples, it seems.

NC: So that's the freelance work that I do now. Sometimes for an article in the paper they'll want me to do a drawing. I'm always home. Right now I'm getting a Bat Lash done for Alter Ego for an issue coming out in the fall. They're doing an article and it talks about how they like my work and respect my work and then there's that comment again: "Nick, try to get some new material." (Chuckle.) Then when I called up the writer had interviewed me and he has it all set and then he said he spoke to Roy Thomas and Roy Thomas says, "Has Nick got any originals?" I thought he meant if I had any original art around. Then I knew what he meant. Originals for the book. So I decided to do some.

BDS: That will be great.

NC: Because if you open the book, otherwise it would be, "I've seen that before."

When you have different people that are in this business, they mention, I'm looking up a writer and they'll say, "Stroud…Stroud…Don Stroud, the movie actor." And then they know what you do. With me they'll look me up and they probably have the old prints that have been there for years and when they do the write-up all they can show are the prints they have on file. And my files have been shown many times.

BDS: I guess you could call them classics.

NC: I would like to redo some of the coloring on my covers that I have done or any piece of art. I spoke to my art agent and I said, "I want to redo the colors." "Don't touch the colors. That may be what they want." I wish I could give them something that I could color myself. But they probably wouldn't like it as much as the old one. When you get something nostalgic, they're attached to that and then when you do something different, try to improve it, it doesn't look like the original and they don't like it as much. It's like seeing a movie you'd seen before with some actors you like and then a new version comes along and they go in a slightly different direction but you don't care for it. You still like the impression the original left on you.

BDS: Yeah, when the nostalgia factor kicks in, nothing else will do. I know when I talk to your old buddy Al Plastino, he says…

NC: Somebody called me for some anecdotes about Al. We were in school together. We did a mural together and I have part of that picture where it shows me mixing colors and he's on a ladder or something right alongside me, but you don't see his face, but you can see the painting of his face. I did the heads and he did the figures. I never knew what happened to it. We never finished it.

I'll tell you a story. Did you know that I sang on the Metropolitan stage?

BDS: No.

NC: Yeah, I did.

BDS: Wow! How did you pull that off, Nick?

NC: Oh, it was my voice. Let me put it this way: They had picked out a chorus from all the different high schools and I was one of about 200 that sang on the Metropolitan stage as a group. (Chuckle.) But when people hear that they think you're an opera singer or something. I wanted to sound big. (Laughter.) But I actually did. I think we sang something from an opera. I used to know the name of every composer and every bit of music and who performed it. Today I don't even know what the hell I had for breakfast. (Chuckle.) I apologize at first if I can't remember something from 60 years ago and I bounce around like I did today.

(For more information on "Nick Cardy: The Artist at War" from Eva Ink Publishing, and on future Nick Cardy books, contact Renee at: evaink@aol.com)

Nick was just the greatest and I can't wait to chat more with him in the future. Speaking of the future, there continues to be a future to this feature and you'll want to be a part of it, so take full advantage by returning in about two weeks for the latest right here at this very location on the World Wide Web. In the meantime, we always ask for your comments, so send 'em along to this convenient e-mail address: silveragesage@thesilverlantern.com.

Until the next edition…

Long live the Silver Age!

--Bryan Stroud

Golden--New "Spawn" cover artist. Issue #210 on stands now!

2011-08-14T23:10:00.000-07:00

Check out the new "Spawn" cover by artist Michael Golden. Michael is the new cover artist on the series, so be looking for more great art on the way.
--R.
:-)

Artist Steve Scott Treks to Wizard Chicago with Limited Litho and Originals!

2011-08-09T08:16:00.000-07:00

Chicago-- Wizard World Chicago starts this weekend, and artist Steve Scott is a big part of the party with an exclusive print available only at the show, along with a great selection of never before offered artwork.

Fresh off his stint on "Batman Pieces," Steve will be offering originals from all three issues of the story arch that wrapped up this important and popular series.

"It really was an honor for Steve to be part of the series wrap-up," says his agent, Renee Witterstaetter. "And these pages are so beautiful. Even if you are not in the market to buy, you should come by and look!"

In addition to the originals from all his sequential work on hand, Steve will also be taking commissions at the show, as well as scheduling a few larger "do at home" pieces on over-sized art board. Ask for details at the convention.

As for the limited print? Here's the scoop! Known for his likenesses on "Batman Dark Knight," for Special Projects at DC and "Indiana Jones" for Dark Horse, Steve shows his prowess with a litho featuring Captain Kirk and Spock, stamped with the official Wizard World Chicago icon.

This print measures 11x17 and is available at Steve's table in artist alley in limited supply. All prints come signed by the artist.

Steve will be at Wizard World Chicago all 4 days of the show in artist alley, August 11th-14th. Joining him at the show will be Mark Texeira, Rodney Ramos, Michael Golden, Renee Witterstaetter, Patrick Stewart, Bruce Campbell, LeVar Burton, Bill Sienkiewicz, Arthur Suydam, Greg Horn, Ethan Van Sciver, and many more!!

For more information on Wizard Chicago, go to: http://www.wizardworld.com/chicago.html

For more information on Steve Scott, go to: www.evainkartistgroup.com or contact:

evaink@aol.com

(Above: Photos of Steve Scott with one of his published books, as well as Batman Original that will be available at the convention. Steve's Star Trek litho for Wizard Chicago.)

Michael Golden Tells the Story at Wizard Chicago-- Class Slated for Saturday!

2011-08-06T16:07:00.000-07:00

Chicago-- With Wizard World Chicago right around the corner (Aug. 11-14th!), it's just been announced that artist/writer Michael Golden will be conducting his "The Art of Storytelling" class at the convention on Saturday. So mark your schedule now (times to be posted soon).

Michael Golden, co-creator of the X-men's Rogue character, Spartan X and Bucky O'Hare is known worldwide for his groundbreaking work on "The 'Nam," "Micronauts," "G.I. Joe Yearbook," and "Dr. Strange, " among MUCH more, and is counted as one of the best cover designers and storytellers in the business.

Golden's work can be seen on "Nightwing", "Iron Man", "Heroes for Hire", "Exiles," "Demon's Regret," "Spider-man," "Hulk," "Spawn 200" as well as currently on "Spawn," with Todd McFarlane.

It's no wonder that Golden has been one of the most influential creators around for the last several decades:

"....unless you can actually draw yourself, it is very difficult to understand the exact mind-blowing impossibility of what he does," said writer/artist Larry Hama, of Golden's work.

"Michael blithely puts down on paper exactly what he sees in his head. It's like he's got a cosmic opaque projector that shoots a laser beam from his brain through the kundalini eye in his forehead straight down onto the drawing surface where all he has to do is trace it," continues Hama. "The result is hard-edged and fully realized in every way. No fuzzy impressions here. No using the side of the pencil. No squiggly space-filling lines blocked in on automatic pilot. To paraphrase Neal Adams (who was referring to Golden), there is not a single millimeter of line on the page that is not directed by conscious thought."

Recent books covering the colorful life and amazing art of Michael Golden include a Manga version of the "Bucky O'Hare" series, created with Hama, as well as the top selling art retrospective "Excess: The Art of Michael Golden," written by Renee Witterstaetter, which sold out and is in a second printing, as well as his recent sketchbook "Heroes and Villains," and the NEW sketchbook, "MORE Heroes and Villains." In addition, Woodcrest Productions/Eva Ink has also released a two part candid DVD on Michael and his career, entitled "Creator Chronicles: Michael Golden," featuring an extensive interview and tutorial with the creator.

In fact, as a conceptual cover artist, Golden has penciled everything from Batman and Captain America to Vampirella! And the list keeps growing.

Michael has served as an Editor at DC Comics as well as Senior Art Director at Marvel Comics, and has worked on scores of movie production projects, some currently in development. His art has been the focus of gallery shows in places as diverse as Gijon, Barcelona, New York, Antwerp and Brussels, while his class on storytelling has been conducted from Spain to Brussels to France to Canada to the United States... and most recently China.

Don't miss this mini version of Golden's longer course. Beneficial for writers, artists or anyone interested in the fine art of crating a tale.

Michael will also be at Wizard World Chicago all 4 days of the show in artist alley. Joining Michael at the show will be Mark Texeira, Steve Scott, Renee Witterstaetter, Patrick Stewart, Bruce Campbell, LeVar Burton, Bill Sienkiewicz, Arthur Suydam, Greg Horn, Ethan Van Sciver, and many more!!

For more information on Wizard World Chicago, go to: http://www.wizardworld.com/chicago.html

For more information on Michael Golden and his work, contact:

www.evainkartistgroup.com

OR

http://www.facebook.com/pages/Michael-Golden/44937601170?ref=share

(Photo of Michael Golden by Lugi Novi)

Barbie Comics: The Brains! The Beauty! The Marketing!

2011-08-05T17:08:00.000-07:00

One of my friends, Emilio Torres Garcia wrote today about one of my past projects, and it reminded me, just what fun it was to work on that particular series.

I'm talking of course, about the "Barbie" comics at Marvel. Barbie, you might say?! Yes indeed. And before you start talking about her painfully thin waist, or her perpetual high arches, or the much maligned Ken, I'll jump in.

I'm very proud to have worked on this series. They were intelligently written. Each story had humor and wit, and although there were certainly messages, none of them were heavy handed or hit one over the head. These comics were also designed for a very important purpose:

Getting girls to read comics.

Comic books have long had a male dominated readership... yes, I know, there are girls like me that read comics.... but we are not the norm. It was and still is, important to have comics that appeal to all at all ages. "Barbie" was a perfect introduction comic for younger girls.

I firmly believe that what will attract readers to what we do is good storytelling first and foremost. It doesn't matter what or whom the character is. Be it a purple pig, a flying super hero, or a hedgehog. Or Barbie. Write a good story, put it with some great sequential storytelling, let people know about it, and they will come.... be it that your format is print, digital or both.

So, at the time, in the late 90's "Barbie" was our hook, and I applaud whomever at Marvel had the courage to try something different at the time. And, I like to think that many girls...and guys... read them because they were just.... FUN!

Thank you Emilio for stirring up the memories.

Here is what he had to say:

Shhh--- I'm reading my Barbie Comics!
by Emilio Torres Garcia

Before Supergirl, before Wonder Woman, Barbie was my girl. Her surreal angel face and physiologically impossible body had me smitten at a very early stage in my life. I loved her but she didn’t love me (I mean come on it’s a freaking doll for crying out loud). So imagine my frustration when I had to wait until the end of 1990 so that Marvel Comics could finally release the #1 issue of their Barbie Comic Book.

Written by Lisa Trusiani, pencilled by Mary Wilshire, Inked by John Lucas, Colored by Renee Witterstaetter and edited by Fabian Nicieza to me this book is an unsung gem in the history of Comics. This issue consisted of three stories “The Fashion Show Must Go On”, “Dirty Dancing” and “Prize Pet”. Plus four one page vignettes. This issue encapsulates everything that makes Barbie fabulous. Her caring-loving nature, her witty humor, silky smooth hair and of course her unparalleled fashion sense it’s all there. This comics is excellent reading for young girls and issue included a bonus Door Hanger which I also scanned as you can see below.

(Original post and blog: http://myoldbox.wordpress.com/2011/08/05/shhh-im-reading-my-barbie-comics/)

Texeira Buffy Litho Gives Fans Something to Bite Into at Wizard Chicago!

2011-08-05T16:56:00.000-07:00

Chicago-- Buffy fans are sure to be chomping at the bit for the limited edition Buffy VIP lithograph that will be featured at Wizard World Chicago next weekend, this time, featuring the fine watercolor work of artist Mark Texeira.

Featuring an array of "Buffy" characters, Wizard commissioned Texeira to do this print that will be available to all Buffy VIP's at the convention.

It is limited to 500 copies and measures 11x17.

A great collectible from fine art painter and comic illustrator, Mark Texeira, who has long been associated with a conflagration of characters ranging from Ghost Rider to Black Panther to Wolverine to Sabertooth to Moonknight to Punisher to....it goes on and on...

Not new to media tie-ins, Mark's work has been explored and highlighted on the DVD of the "Ghost Rider" movie, the look of which he influenced. And, Mark was also tapped to do the movie tie-in for "Wolverine Origins," which also seemed to be a natural, considering his long association with that character in all his forms!

You can find Texeira's interiors currently on Ghost Rider, MoonKnight, Wolverine Origins and two upcoming, highly anticipated Punisher mini-series, and right now, "Thor: Heaven and Earth," all showcasing the signature Texeira style.

And here's some more good news: The Buffy Fest limited edition litho will also be available to non-VIP's at Mark's table in artist alley while supplies last. Priced at just $20. each, they are sure to go fast.

"It's wonderful to have Mark involved with the Buffy Fest at Wizard Chicago," said his agent, Renee Witterstaetter. "It's a strong and ever growing group. The piece that Mark created is beautiful as well, and will be a nice collectible for fans of Buffy and collectors of Mark's work as well."

Mark will be in artist alley all days of the show with additional limited prints of various subjects, as well as his new hardcover sketchbook, "Mark Texeira: Nightmares and Daydreams." These books are available for $20 signed or $40 with a sketch. Other commissions are also available.

Wizard World Chicago takes place August 11-14th at the Donald E. Stephens Convention Center in Rosemont, Ill.

For more information on this Buffy exclusive, go to: http://www.wizardworld.com/buchcoconvip.html

For more information on Mark Texeira, his availability and commissions, go to:
www.evainkartitgroup.com

Michael Golden Interview: Star Wars #38

2011-07-27T15:45:00.000-07:00

When out on the road, the artists are often asked to do on the spot interviews, which we are happy to do. This particular one took place at Wizard World Atlanta, and features the amazing Mr. Golden talking about one of his groundbreaking works, "Star Wars" #38.

--Renee
__________________________

TFN Interview: Michael Golden

Posted By Mandy on January 4, 2011

Today we’re here with Michael Golden, comic book artist extraordinaire. I had the honor of getting a chance to chat with Michael at Wizard World Atlanta. Golden is responsible for co-creating some of the most beloved comic book characters, chiefly Rogue and Bucky O’Hare. Working with the two largest comic publishing houses, Marvel and DC, Golden became one of the most prolific mainstream comic book artists. For the discerning Star Wars fan, Golden is responsible for one of the most popular and well-known single issues of Marvel Star Wars comics, Star Wars #38: Riders in the Void.

Mandy B: Michael, what led to you working with Marvel to create Star Wars #38?

Michael Golden: Originally, Star Wars #38 was just me walking into Archie Goodwin’s office one day going, “you know I would like to do more science fiction,” because at that point, everything I did at Marvel was science fiction: I did Logan’s Run and was co-creator of the Micronauts. I liked doing science fiction and I was never much into superheroes. So, at that point, when I was in Archie Goodwin's office I said, "I got an idea for a story that I want to do," and we sort of simultaneously said we could attach it to Star Wars as a fill-in issue. I told Archie this story that I wanted to do and he loved it, so I sat down and drew it and Terry Austin inked it. After I had sat down to the drawing it, Archie actually called me and said they were actually going to use the story right away, so I finished up the pencils and it went off to Terry Austin to ink. I was originally supposed to write it as well, but because they needed it right away, Archie sat down and wrote it based on my notes.

MB: It was still your story, right?

MG: Oh, yeah! It was still my story, but he went in and made it work.

MB: I'm fascinated with this issue, Michael. In what’s referred to as the Star Wars Expanded Universe, a host of authors was tasked with creating an exceptionally long series called the New Jedi Order centered around a galactic threat that is seemingly modeled after some aspects* of Star Wars #38. Can you confirm that this was based on some elements of your story?

MG: I'm aware of that and everyone who's brought it up has been of the opinion that it was based loosely around my idea and what I created. And that's really cool! I don't even have a problem with that. I think it's great that the issue is acknowledged as one of the great standalone Star Wars storylines. It was always a science fiction story I wanted to do, so we just decided to make it a Star Wars story because we didn't have any other venue. Archie really liked the story and it ended up being one of the most popular issues from the Marvel round of Star Wars.

MB: I also think that your art was a breath of fresh air in the series. Compared to the previous artists, there is an obvious difference and unique quality to your work.

MG: Thank you, thank you very much!

MB: If Dark Horse, the current publishing house for Star Wars comics, asked you to come onboard and gave you carte blanche with regard to plot and characters, what would you like to do?

MG: I honestly don't have a preference. I like the Star Wars license. If somebody were to drop it in my lap, I would do it in a heartbeat. I think it's a really great property and I'm a hard-core science fiction guy. Though Star Wars is more science fiction adventure, whatever anybody wanted me to do, I would do it.

MB: Michael, thank you so much for your time! It was a pleasure to meet you!

MG: Thank you, and you as well!

*Author’s Note: What I’m referring to is the galactic threat known as the Yuuzhan Vong. Introduced as a force to be reckoned with in Vector Prime, the odd alien race seems similar to the mysterious “organic” aliens that Golden used as a part of his comic.

******

You can find the original post here: http://www.theforce.net/latestnews/story/tfn_interview_michael_golden_135910.asp

Thanks to www.theforce.net for a great interview!

--Renee

Review: "Nick Cardy: The Artist at War" By Jason Arnold

2011-07-26T21:41:00.000-07:00

And a store owner tells me what he thinks about our new book, "Nick Cardy: The Artist at War." Thank you Jason!

In these photos as well, Nick Cardy and Michael Golden at Heroes Charlotte, 2011, Nick sketching in the new book, Nick and I with our current project on his war journals.

--Renee :-)

Hi Renee & Eva Ink,

Right off the bat, I've got to say that it was my pleasure to purchase, read and review Artist at War. You guys did a great job putting it together and I'm all too happy to recommend it here in my shop, Strange Adventures in Fredericton, New Brunswick.

Like many comic fans, I was familiar with the name and a portion of Mr. Cardy's tremendous body of work, but his interview on Where Monsters Dwell was absolutely compelling! So when I learned of the book you were publishing, I just had to have it!

Thanks again to you and everyone involved in compiling Mr. Cardy's work for this beautiful production.

All the best,

Jason Arnold

Review by Jason Arnold:

Nick Cardy, like many from his generation, has provided us with plenty to be grateful for. His work in the comics industry has been legendary and an influence on many since its golden age. If the name isn’t ringing bells yet, just check out some of the work he did alongside the likes of Eisner, Schwartz and Infantino, just to namedrop a few. It’s his service in World War II though that is the focus of the highly recommended, wonderfully presented, illustrated autobiographical book “Nick Cardy: the Artist at War”.

A fresh faced, 20 year old Nick Cardy was drafted to serve in the war on April Fools’ Day of 1943 no less. Starting right at basic training, Mr. Cardy deftly and clearly captured many sincere, telling moments from a young man’s experience in the army. His illustrations continued all the way through to the end of the war and a selection of these have been beautifully presented to us by Renee Witterstaetter and Little Eva Ink in a 128 page, full colour hard cover gem. I’m lucky enough to have purchased an edition with an interview disc and autograph from Mr. Cardy himself.

To say Mr. Cardy’s recollections are compelling would be an understatement to say the least. The chosen text for the book and the video interview glued me to my seat. The life he manages to capture in his sketches, drawings and paintings is the kind only described by the thoughtful eye of an illustrator/painter. While the photographer takes a moment to freeze a moment, the contemplation of the pencil, pen and brush (as brief as it might be in such a volatile situation) somehow gives me a greater sense of connection as a human being to the individuals and events surrounding Mr. Cardy in the service.

The images range in mediums, techniques and intensity, but the constant beat of the notepad format (thank you for not cropping!) gives the read a steady rhythm. It’s easy to see an evolving view of a world-scale event through the eyes of an individual, due in no small part I’m sure to the selection and arrangement of the chosen pieces.

All in all, this handsome book is worth the price of entry and then some. The subject was a monumental event that changed the world and the intimacy that “Nick Cardy: the Artist at War” gives it is riveting. It’s an honour to have read it/heard it from the gentleman himself and on the off chance that you are reading this Mr. Cardy, I sincerely thank you.

--Jason Arnold

Artist Steve Scott Takes on Two-Face in "Batman Pieces"

2011-07-26T13:14:00.000-07:00

By Keven Skinner
Published: July 26, 2011 - 12:48pm

Steve Scott, known for his work on Batman, Razor, New Warriors, X-Men and Green Lantern, discusses his work on the Batman Begins home video release as well as Batman: Pieces.

Scott penciled the current Batman: Pieces series and reflected on the current story arc, in which the villainous Two-Face is back with a vengeance. "We really dig a bit deeper in the mind of Two Face," said Scott.

"It's an exploration into the mind of a man that continues to be tortured. Or, at least, that's how I read it. Tony (Daniel) did an amazing job delving into A tortured Harvey Dent. I actually felt sorry for him a bit during the course of this story line."

In the Batman: Pieces series an unknown villain is targeting Gotham's crimelords (including Harvey Dent aka Two-Face). The Bat discovers that Kitrina Falcone (Catgirl) is on the hit list and tries to save her possibly forcing Catwoman to get involved as well.

The artist also worked on the promotional comic that introduced The Joker during the bank heist that opens The Dark Knight film. The comic was included with the collector's edition of Batman Begins on Blu-ray. "The comic was originally going to just be a part of a promotional magazine for the upcoming film but the movie's director (Nolan) had liked what I had done so much that he asked that I do a cover for it as well and they would release it as a separate collectors edition within the package. Again, this was a real pleasure to get to do."

Scott also commented on the upcoming DC: Universe overhaul that hits this September and thinks that the criticism that many comic enthusiasts are throwing towards the publisher isn't justified. "I think the titles look great and that there isn't any reason to be in such an uproar over it as some are," said Scott. "Whatever they can do to start marketing these comics to people that are not picking them up now, I think it's great."

"If we think these characters haven't been rebooted before, we should look through our collections and pull out a copy of these comics from each decade. See if you don't recognize a change in these characters regardless of the number on the issue.

______

Thanks Keven, for the great interview. The original post can be found here:

http://www.dailyblam.com/news/2011/07/26/exclusive-interview-artist-steve-scott-takes-on-two-face-in-batman-pieces

Check out Steve Scott and more on Eva Ink Artist Group at www.evainkartistgroup.com

Michael Golden Sketchbook and more at San Diego ComicCon 2011

2011-07-20T23:41:00.000-07:00

Hey Everyone-- Just an update to let you know that Michael Golden and myself are at the San Diego Comic Con, this weekend, July 20-24th.

We are located at Booth 4601, aka Naked Fat Rave. Also at the booth are fantastic artists--joining the wonderful Mr. Golden--Amanda Conner, Arthur Adams, Phil Noto, Bruce Timm, J. Scott Campbell, Alan Davis and Scottie Young.

All of the artists are sketching and/or offering sketchbooks and prints for the event.

Michael Golden has prints, sketchbooks and artbooks, and is sketching during the show, while I have copies of my new books "Nick Cardy: The Artist at War," and "Kerry and the Scary Things."

Come on by. NFR, Booth 4601. It's the place to be.

--Renee
:-)

Archive Post: Horton the Elephant and Your Own Personal Dandelion (Marvel Holiday Special)

2011-07-12T09:36:00.000-07:00

Hi Ya'll-- With all the archive posts, I admit, I must resist the urge to rewrite, add to, update. But if I did so, then they wouldn't be archive, would they? And they would not be preserving the moment in time in which I wrote them, or the emotions I felt on that day.

The editorial below originally appeared in one of the "Marvel Holiday Specials" that I edited while at Marvel Comics. I was particularly fond of this project, which I conceived and spearheaded, and always had such fun working on this particular book. Mainly because it gave me the chance to work with so many creative people at one time, and the task of weaving numerous anthology stories into a cohesive whole under the umbrella of the title.

This issue contained works by: Arthur Adams, Al Milgrom, Brad Joyce, Darick Robertson, Ed Lazellari, Evelyn Stein, Fred Fredricks, Jim Starlin, John Costanza, Keith Williams, Larry Hama, Michael Golden, Patty Cockrum, Rik Levins, Ron Lim, Rurik Tyler, Steve Montano, Tom Grindberg, Tom Vincent, Ann Nocenti, Bob Wiacek, Carl Potts, Dave Cockrum, Ernie Chan, Fabian Nicieza, Glynis Oliver Wein, Joe Rosas, John Hebert, Kerry Gammill, Larry Mahlstedt, Mike DeCarlo, Peter David, Richard Howell, Ron Garney, Roxanne Starr, Sal Buscema, Steve Lightle, Terry Austin and Tom Morgan.

And now for my little contribution.

Best to all ya'll,
Renee

_______________________________

Your Own Personal Dandelion

Horton the Elephant! You remember him? How could any of us raised on Dr. Seuss and Cats in Hats forget?

I never have. Amongst the gobs of goo, and the Grinch that stole Christmas, that likable elephant has always been my favorite.

Why? Because he seemed so, well… human. He had the same doubts and fears. He was put upon by friends and teased by enemies. He was quite happy to go through life unbothered and undisturbed.

That was until one day he heard a very small "Help" come from a dandelion, and he discovered a parallel world, smaller, but none-the-less as important, as his own. At that point, he also discovered the hero inside himself.

Sometimes it IS the small things that make us think.

Let me give you an example. On a recent trip to Hong Kong, stuck in my room with violent monsoon storms raging around me I occasionally looked out the window at the dark foreboding sky and the sheets of water literally dancing down the street. And there , perched precariously on my ledge was an egg--an odd place to lay one for sure, and a mistake I'd hope not to make if I were a pigeon.

But, my heart still went out to that little egg as, like Buster Keaton on roller skates, it would dash for the edge then roll back at the last possible moment. The poor mother would come back often to frantically try to help it. And there was nothing I could do since my window wouldn't open. Helplessness is not a good feeling.

The last time I went to check it, the egg was gone.

Later, my friend Jackie picked me up and told me of the terrible destruction on Hong Kong Island caused by the storm. Mudslides had killed several people, and floods threatened the homes of many others. We were both silent…there was no other place in the world, no other moment in time, than where I was right then.

With storms raging all around us, the events that happen right before our eyes somehow seem so much more real.

It's that way with us. Until something slaps us in the face we don't really believe it's there. It's some vague, make-believe thing. Are there really only a thousand giant otters left in the world (Writer's note: Insert any number of endangered species)? Are people really being killed in Bosnia (Writer's note: Insert current country)? It's so far away from the streets we walk every day. Few of us take to heart the words of the writer who said: "I may never see a mountain gorilla, but I take great joy in knowing that they exist."

But, this is where we can learn our lesson from Horton. Remember, the elephant who is faithful "one hundred percent."

We could take this time of year to look past our own limited field of vision and be faithful to something-- a charity for hunger, disease or endangered species, perhaps. Give to it, watch it grow, learn about it…occasionally go to the window and see if it's alright.

Our own personal dandelion.

You might not hear that still small voice saying "Help" or even "Thank you." You may never hear it…but then again, you just might.

Something to think about . Happy Holidays.

Limited Edition "Shi" Print Supports Breast Cancer Research!

2011-07-05T11:10:00.000-07:00

Hi Everyone-- As some of you who know me personally may be aware, I have had people in my life who have dealt with, battled, and survived Breast Cancer. But the battle is a hard one...the war never guaranteed.

This is a cause close to me.

One of my dear friends, artist Billy Tucci, who also is familiar with this disease, currently has a limited edition print of his creator-owned character "Shi," available on e-bay.

Sales of this beautiful piece go to support Breast Cancer research.

I bought one. How about you?

Not only does your purchase help with much needed research, but you also have a beautiful gift to keep for yourself or give to a friend.

What a meaningful way to start the month of July--helping find a way to give all suffering from this disease, a little "independence" and "freedom" from worry and care. And hope for a future without this specter.

Now that is something to celebrate.

Take a look at the auction here:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=350475421807&ssPageName=STRK%3AMESE%3AIT

Happy Summer!

--Renee

Review: "Kerry and the Scary Things" New Children's Book

2011-07-03T21:57:00.000-07:00

Everyone is afraid of something. As a matter of fact, the business of phobias has kept uncountable psychologists, analysts, and pharmacies busy for nearly a century.

“Kerry and the Scary Things” is not about phobias, but rather a deep fascination with all things monsters. Frankenstein, the mummy, werewolf, vampires, and the cyclops are the ‘hit’ list of young Kerry and his companion book, Dr McNamee’s Monster Guide.

You see, there are very precise methods to fight such beings. It really is true, even monsters who inspire phobias themselves have phobias.

Alas, young Kerry is NOT afraid of such things, and when he meets Dr McNamee, he is drawn into Monstercity and lives the life of Kerry, Monster Hunter!

Renee Witterstaetter and Keith Wilson give readers a delightful book that will hit monster fans right in the face. Everyone loves a mummy, and everyone loves the wolfman. And vampires, the ‘tame’ version, #1 on my list.

An interesting aside is that Kerry, in the book, is named after artist Kerry Gammil, monster lover, and now a monster publisher himself, and in this book, his namesake, truly is brave above reason!

Well done Renee and company. Great book.

www.evaninkartistgroup.com

http://www.tfaw.com/Profile/Kerry-And-Scary-Things-Golden-Sgn-Ed-SC___368382

--Tim Lasiuta

(By Renee Witterstaetter. Art by Keith Wilson. Cover by Michael Golden. 48 pages)

Tim Lasiuta Reviews "Nick Cardy: The Artist at War"

2011-06-28T14:11:00.000-07:00

Writer, Tim Lasiuta recently reviewed the new Eva Ink Publishing book, "Nick Cardy: The Artist at War." Here is what he has to say. And if you are interested in reading more from Tim, here is his blog: http://timlasiuta.weebly.com/ --Renee

_____________________

Nick Cardy: The Artist At War--A Book Review

Treasure comes in small packages.

This is the case with “Nick Cardy: The Artist At War” by Nick Cardy and Renee Witterstaetter. Measuring in a 6 x 9” format, hardbound and profusely illustrated and annotated, “Artist At War”, is a compelling tour de War.

Nick Cardy, Nick Viscardi, to most comic readers, is closely associated with DC Comics Teen Titans, Bat Lash, Aquaman, and a host of other titles. His unique style immediately identified his work, and thusly, helped define the bronze age of DC as much as Joe Sinnott defined the Marvel age. This book is not about that.

“The Artist at War”, is truly that. An alternate title might be “Scenes From War”, but Renee and Nick have chosen well. Already a published, accomplished, working artist Nick was drafted and served in the 66th Division, later he served as an Assistant Tank Driver. Other than the horrors of war, Nicks’ constant companion was his sketch pad, pencil, and brush. Off and on duty, post and pre VE Day, the artist’s eye captured scenes to be put to paper, sometimes from memory. Even on the operating table, he was contemplating a picture! Now, that is an artist.

What you hold in your hands is a book that is like no other. This is real. The scenes represented on the pages, Nick saw, recorded, felt, and smelt. In his minds’ eye, he can probably tell you what happened after and who was around him. He can tell you the temperature, and hear the sounds. Photographs are that way. For Nick, and us readers as we absorb the text around the images, we too can be there.

I love the layout of the book, with pages centred, as opposed to filling the page. It is as if Nick himself is with you, showing pages on his black kitchen table, having a conversation. “Tim, take a look at my sketches. I drew this in…This was a tough day…The gunk on his head was the brains of the tank commander…”

As a bonus, a CD of candid interviews with Mr Cardy is included. If you are so lucky, Renee and Nick will sign theirs. The sketch edition would be the book of choice though.

Thank you Renee and Nick.

--Tim Lasiuta

ACE and the Eva Ink Full House-- Interviews Posted

2011-06-28T12:54:00.000-07:00

Hi Everyone-- Just back from a fantastic time in Albuquerque for the Comic Expo (ACE), and an amazing time was had by all, in this land of beautiful sunsets.

Sadly, I didn't have much time to explore, but I did go to Old Town, visited the Albuquerque Rattlesnake Museum, had some wonderful food,and spend time with some great friends.

With Eva Ink, we had Michael Golden, Mark Texeira, Joe Jusko, Steve Scott, Minck Oosterveer and Rodney Ramos with us, completing our wonderful guest line-up. (I was there too, signing my new books!) Other friends were also there like talented guys Berni Wrightson, Gene Ha and Tony Harris.

Moments to remember. :-)

Several interviews have been posted, thanks to reporter Jared Earickson at The Examiner. You can find them here:

http://www.examiner.com/comic-books-in-albuquerque/interview-with-renee-witterstaetter-at-albuquerque-comic-expo

http://www.examiner.com/comic-books-in-albuquerque/interview-with-mark-texeria-with-exclusive-look-at-punisher-outer-space

http://www.examiner.com/comic-books-in-albuquerque/interview-with-steve-scott-at-albuquerque-comic-expo

Again, thanks to one and all for a wonderful show!

--Renee

(Above: Photos of myself--Renee Witterstaetter, Mark Texeira, and Steve Scott.)

ACE's Wild (Albuquerque Comic Expo)--Eva Ink has a Full House!

2011-06-22T16:26:00.000-07:00

Hey everyone, the Albuquerque Comics Expo starts this next weekend, June 24-26th. And Eva Ink Artist Group will be there with a FULL HOUSE of great talent.

Scheduled to appear are:

Michael Golden (Batman, The 'Nam, G.I. Joe, Dr. Strange)
Mark Texeira (Ghost Rider, MoonKnight, Black Panther, Punisher)
Steve scott (Batman, X-Men, Razor, Indiana Jones)
Renee Witterstaetter (Spartan X, She-Hulk, Kerry and the Scary Things)
Mink Oosterveer (2nd US Appearance!) (Ruse, The Unknowns, Spider-Man)
Joe Jusko (Conan, John Carter of Mars, Vampirella)
Rodney Ramos (52 , Countdown, Batman ,JSA, Black Adam , the a...ward winning Transmetroplitan)

And so many more! Hope to see you at the show!

For more information go to: www.abqcomicexpo.com
For more information on Eva Ink and/or the artists mentioned above go to:
www.evainkartistgroup.com

--Renee

My Kingdom for a Teleporter!: Calgary Comics Expo and Wizard World Philly Start this Weekend!

2011-06-16T23:30:00.000-07:00

Coast to Coast! Golden, Scott and Jusko in Calgary AND Oosterveer in Philly!

Philly/Calgary-- Well, we don't expect you to go to both shows really, but you could! Yet... even if you decide to only hit one, this weekend is offering up two amazing shows: The Calgary Comics Expo and Wizard World Philly. And we've got great artists in both places!

The Calgary Comics Expo is welcoming back acclaimed artist Michael Golden for his second appearance at this fast growing convention. Michael is the co-creator of Rogue and many other characters. His stellar storytelling work can be seen in "G.I. Joe," "The 'Nam," "Doctor Strange," and much much more. He is currently working on several projects for IDW and DC Comics.

Michael will be joined by Batman artist Steve Scott, who will be making his first appearance at the show. Steve's four issue Batman story arch is on it's second issue-- to amazing reviews-- joining his credits of pencil work on such characters as X-Men, She-Hulk, Hulk, Razor, as well his production art on the television show "Smallville."

Each year, the fine folks that run the Calgary show publish a collectible book to commemorate the event, a portion going to charity. This year, Golden, Scott and Mark Texeira (who will attend the show next year), all have pieces in the hardcover volumne. Be sure to pick one up and bring it by their tables. As well as signing their book, you'll also receive a discount on some of their merchandise from Eva Ink Publishing.

Other folks scheduled to be in Calgary include: Joe Jusko (Come see his new John Carter of Mars paintings!), William Shatner, Felicia Day, Summer Glau, Jonathan Frakes, Mike Mignola, Tim Sale, Neal Adams, Jimmy Palmiotti, Rick Remember, Amanda Conner, Todd Nauck, Gail Simone, Renee Witterstaetter, and too many to list here!

For more information on the Calgary Comics Expo, go to: www.calgaryexpo.com

As for the East Coast, we certainly haven't forgotten you, as Wizard World Philly marks the first ever US appearance of artist Minck Oosterveer. Oosterveer is known for his work on "The Unknowns," "Zombie Tales," "Nicky Saxx," and currently on "Ruse" and a Spider-Man project for Marvel Comics.

Minck is also providing an exclusive Buffy print that is part of the Buffy VIP package for Wizard Philly. This limited print is also available at Minck's table in artist alley while supplies last. Talk to Constance at Minck's table for more information.

Joining Minck in Philly is another great line-up of guests as well including Bruce Campbell, Julie Benz, Adam West, Billy Dee Williams, Bill Sienkiewicz, Doug Braithwaite, Arthur Suydam, Greg Horn, J.G. Jones, Ethan Van Sciver, Blond, Tommy Castillo, Jim Cheung, and the list goes on.

Basically, no matter which show you find yourself at, you just can't go wrong!

For more information on Wizard World Philadelphia go to: www.wizardworld.com

For more information on any of the featured artists, contact evaink@aol.com

Tales of Zombies! --Minck Oosterveer at MoCCA, NYC, Tuesday June 21st, 7-9 PM

2011-06-15T11:10:00.000-07:00

Tales of Zombies AND More: Minck Oosterveer on working in the European and American Comic Markets

With: Minck Oosterveer and Jim Salicrup

Tuesday, June 21st

From 7-9

$5. for non-members, Free to MoCCA Members

Join renowned "Nikky Saxx" and "Zombie Tales" artist Minck Oosterveer for an informal interview with comics editor extraordinary, Jim Salicrup for an event filled evening at MoCCA, as Minck discusses the difference, similarities and enjoyment of working on European and American comics, his illustrative career in both, as well as his recent work as the penciler on "Ruse" and Spider-man at Marvel Comics.

Following the interview, Minck will give a sketching demonstration. The evening also includes raffles for merchandise from Eva Ink Artist Group (www.evainkartistgroup.com)-- Three tickets for $5. All proceeds going to benefit MoCCA. As well as a special print available just at the event.

Stay around for refreshments, mingle, and enjoy this unique opportunity for a cross cultural exchange with a consummate comics professional, and view some amazing artwork and originals at the same time.

Note: This event at MoCCA on Tuesday, June 21st, is part of Oosterveer's first US tour, He'll be appearing at Wizard Philly June 17th-19th and then at the Albuquerque Comics Expo June 24th-26th.

MoCCA is located at:

MoCCA

594 Broadway, Suite 401

(btwn. Houston and Prince)

New York, NY 10012

Tel. 212-254-3511 Fax 212-254-3590

A Little About Minck:

To say that Minck Oosterveer is a "zombie" artist is true enough... but is far from fully describing this wonderful talent!

In fact, the award-winning artist is known world wide for a plethora of comic strips, movie work, and sequential art. Most notably here in the United States for such books as "Zombie Tales" and "The Unknown" with writer Mark Waid!

Growing up in The Netherlands (Holland) with European comics, he soon developed a strong interested in American comics, especially the newspaper comics of the 1930s-50s. It was the pulp-ish, direct style and the usage of black and white in realistic artwork that attracted him the most. Film Noir as it were.

In fact, Oosterveer's work is strongly influenced by Milton Caniff, Alex Raymond, and Will Eisner. After working for a studio on productions like 'Tom & Jerry', 'Sesame Street', 'Paddington', 'Ovide' and 'Spider-Man', Minck Oosterveer moved more in the direction of another stylistic forte, working with Willem Ritstier on the series "Claudia Brücken" for the Franco-Belgian publishing-house 'les editons Lombard' and Tintin-Magazine .

The collaboration with Ritstier resulted in a daily newspaper comic in an American style, "Jack Pott", published in the Dutch newspaper "Algemeen Dagblad."

Since 1996 Oosterveer worked again with Willem Ritstier on the newspaper comic "Zodiak" for De Telegraaf, and series "Rick Rolluik" for Suske en Wiske-magazine, and "Arachna" for ComicWatch-magazine. He did the art and story for the comic "Excalibur", published by Enigma and artwork for a successful animated movie, '"Mario A".

In 2002, Oosterveer and Ritstier started a new daily comic strip in De Telegraaf, called "Nicky Saxx", one of their most successful comic-series. This was followed by a comic-series entitled "Trunk" (2006), which debuted to critical acclaim. Next they teamed up (2007) as writer (Ritstier) and penciller (Oosterveer) for "Storm", a successful European comic series created by Englishman Don Lawrence, and started a new western-comic, "Ronson inc." for the legendary Dutch comic-magazine "Eppo"

Minck Oosterveer debuted in US-comics with the aforementioned "Zombie Tales/ Zaambi" written by Cris Morgan and published by BOOM!-studios. Early 2009 until 2010 he collaborated with American writer Mark Waid to draw the mini-series "The Unknown" and "The Unknown: The Devil made flesh" which where published by BOOM!-studios as well.

He is currently working on two projects at Marvel Comics, which include "Ruse" and a Spider-man island adventure, neither to be missed.

Hope to see you all at MoCCA for this evening with Minck Oosterveer and Jim Salicrup, Tuesday, June 21st.

For more information on MoCCA vist www.moccany.org

For more information on Minck Oosterveer go to: www.minckoosterveer.com ; or www.evainkartistgroup.com

Review: "Spider-man: Turn Off The Dark" on Broadway--Throwing some Light on the Subject!

2011-06-14T11:29:00.000-07:00

Note: If you haven't seen the "new" Broadway musical, "Spider-man: Turn Off the Dark," and intend too, stop reading NOW. If you don't care, read away, but be warned, there will be spoilers. In fact, I tell you everything!

++++++++++

There are two shows I've seen on Broadway that I can honestly say I hated beyond a shadow of a doubt.

The first was "Starlight Express." My parents were visiting New York in the late 80's and we left during intermission. The second was "Rock of Ages," more recently. The music was good, or at least nostalgic, but the plot was just a clothesline to tie the songs together.

There might be a third if you count that I fell asleep during "Cats."

So, that puts this review into perspective. One: I probably don't like Andrew Lloyd Weber (It's true. His events contain one good song that the whole production hinges on. The rest pure pap.) Two: I like a good story that holds my attention.

During the first act of "Spider-man: Turn Off the Dark," I was 90% sure I'd have a fourth candidate for my all time worst musicals.

Here's why:

I knew we were treading dangerous ground as soon as the show started. The crowd was electric with excitement. Little kids...and a few adults.... were sitting on the edges of their seats. The air crackled.

"Maybe this would be....extraordinary!"

Those hopes were dashed quickly when the curtain opened, to a solo Peter Parker (played by Reeve Carney), who is delivering a speech to an unseen class. Immediately, we are taken into a Greek tragedy out of nowhere, lamenting the pride and fall of a character called Arachne.

Although this scene comes out of nowhere and is shoehorned into the story, making absolutely no sense, and serving no point in the plot (and actually dampening audience anticipation), I will say that the visuals and the staging invention of "The Myth of Arachne," are the only point in the whole show when I see a glimpse of the genius that Julie Taymor showed us in "The Lion King."

I had hopes... for a second.

As the show progressed,however, my first thoughts were. "How much did this show cost? Really!"

As you probably know, it's said to be one of the most expensive productions in Broadway history.

Wherever the millions went, my friends, it did not go into the sets.

This is one of my major disappointments with the show, as real characters are propelled through a series of worse than Toon-Town sets, distracting from any angst or emotion being portrayed, and dumming down the whole experience. Real people sitting at slanted card board cut out tables, with cross -hatching because they want the sets to look like "comic books," does NOT cut it, folks.

The First Big mistake.

The Second: The music.

I admit I'm not the biggest Bono fan, nor The Edge. I am just ambivalent. However, the score of "Spider-man: Turn Off the Dark," is so lousy that it sounds like an over the hill The Edge playing a watered down version of "The Wall." I found myself actually yawing in a few places. (This is NOT good, by the way.)

As a side note, I did not see the original version of this musical by Julie Taymor. But when Taymor was booted, in my opinion, the music should have been booted as well. (Hint to the Producers: It still can be, ya know?)

I think my other major annoyance with Act 1 is in the scene were Viper Execs visit Dr. Osborne to strong arm him into thinking their way regarding funding-- funding that also includes creating a super army.

How many times people, are you going to be unimaginative enough to use goose-stepping soldiers to show "evil intent?" I'm just well.... kind of sick of it. Think of something else, okay?

I know you think it's shorthand. But it's not. It's lazy.

Aside from the inventiveness of the useless Arachne scene, the only other medium high point in Act 1 is during the "Bouncing Off the Walls," segment in which Peter uses his new Spidey powers and gets back at the bullies at school. The use of fake wobbly legs, puppetry, and staging of the fight scenes, is again, meant to be "comic booky", but still at least it's fun to watch.

Sigh. That was Act I.

I thought it couldn't get worse. I was wrong.

Begin Act II.

Oh my GOSH! Again, with the outlandishness that bogs this production. I am trying to find the adequate ways to describe to you my feeling when the Sinister Six (comprised of Carnage, Electro, Kraven the Hunter, The Lizard, Swarm, and inconceivable Swiss Miss) join the newly formed Green Goblin (aka Dr. Osborne).

I know for a fact that I actually groaned. I may have also hit my head with my hand in disbelief.

In Act I, there was the fight scene with a wrestler in which Peter wins a pile of cash with his super powers. Yes, he's meant to be able to blow over his opponent sure, but the wrestler is actually.... a BLOW UP doll. It's campy, but I let it go, you know, at that point....hoping it would get better.

Naw....

I'll go on record now saying that the costumes for the Sinister Six are the worst costumes I have EVER seen on Broadway. I can only assume they were stolen from the Macy's Thanksgiving Parade: Gigantic heads, blow up body parts, cartoon expressions. The Lizard, which if it had been done with the amazing puppetry we've seen in other productions, would have rocked, instead looked like a cartoon character, stuck in the middle of a dinosaur pool toy.

I could not help but laugh (not in a good way), whenever these abominations were on stage. (And so again, I hooted, when blow up doll costumes appear as Spider-man is fighting a set of three gangsters, walking on Dr. Seuss sets, with gigantic bobble heads. Oh my...)

Note to the Director: Your villains are not that affective if it looks like they can be defeated with the power of a stick pin.

And now a few thoughts on the Green Goblin. Finally. At least the costumes for GG and Spider-man are okay, if not great. Although once again, I'm rather tired of the shorthand of: If you are bad, you must also have horrible dental hygiene. Yes, we know, bad people just don't have time to brush their teeth, as we are reminded with gigantic flashes of the Green Goblin laughing across the stage set. (They do this alot. It's called "filler.")

Dr. Osborne as well as Greeny, however,are played expertly by actor Patrick Page. It's his performance that keeps the second half moving. In fact he becomes the comic relief. The one scene in which he's calling J. Jonah Jameson to leave a message, had the whole room laughing, as did his piano styling on "I'll Take Manhattan." (Again, the fake cartoon piano, was the only thing hurting this scene.)

Problem is, folks, as much as I may have liked the portrayal from time to time, this wasn't the Green Goblin. This was The Joker, instead. Something granted that those that don't know comics probably won't care about. But it did bother us.

The ending itself was anticlimactic, but at least there was an ending.

Then we left.

That's about how it felt. That quick...

***********

I'll try to capsulize, if I can, the problems with this show:

1.) Cartoon sets, that make any high school musical look professional (and I'm insulting high school musicals even by mentioning them in this review). It's hard to get involved in a story, when your characters are working in an unbelievable back drop.

2.) Changes in the Spider-man mythos that were unnecessary, and actually harmful to the plot. For example, in the movie version even (which differs from the comic a bit), Peter wins the wresting match and the 1,000 dollars, only to have the promoter refuse to give him the prize money. When a robber takes the money from the promoter, Peter doesn't stop him, and that robber ends up randomly killing Peter's Uncle Ben. Thus the reason Peter feels so strongly about what he does as Spider-man. He feels he caused his Uncle Ben's death and needs to help others in repentance. In this version, Peter DOES get the money and comes home to find that his Uncle Ben has been killed by some non-connected carjacker. Huh? Why change that strong and wonderful motivation?

In addition, it's established the Osborne's have no son. Why do that? First, why not have them with a son? It's good for conflict with Peter/Spider-man. Secondly, if you are not going to have them with a child, why go to such pains to point it out. It's silly and unnecessary. Sort of like saying "There's supposed to be something here, but there's not, so we are going to over explain it."

3.)Terrible villains. Oh my Gosh! Please lose The Sinister Six costumes, at least, if not ALL the blow up dolls. Gak.

4.) Spider-man not acting like Spider-man. At the quick and somewhat rushed climax of our little piece, Spider-man ties a rope around the Green Goblin's leg that is attached to the (cardboard) grand piano. An act we don't see him do on stage. And the assumption is that somehow Spider-man knew that the Green Goblin was going to decide to throw the piano off the Crystler Building, thus taking himself along for the ride and going "splat" on the pavement below. First, I don't think Spidey would kill the Goblin like this. It's not his character. Second, HOW did he know the GG would throw the piano off the building that far in advance to begin with! At this point, I was pulling some hair out.

***************

All of this being said, believe it or not, I still left the theatre not hating this show 100%. It has barely-- by a hair-- avoided being in my all time worst list of shows I've ever seen.

There ARE a few reasons. The heartfelt performance of Reeve Carney as Peter Parker, the show stealing Green Goblin by Patrick Page, and the aerial stunts by the talented group of stuntmen.

I had balcony seats in Row B, so as to fully see all the action, and it was fun to have Spider-man land on the platform next to us from time to time, as well as sneak through the seats to take off from the same platforms. The kids around us were completely mesmerized. And that was more fun to watch than the show itself.

The wonderful Spider-men were also always staying in character, walking and moving as Spider-man would, and waving at the kids, much to their glee and delight. They were indeed the "friendly neighborhood Spider-man" come to life.

I applaud them.

But, are these few high points enough to make this show a "must see," having had it's last preview night at the performance I attended? I don't think so.

The problem is that "Spider-man: Turn off the Dark," is schizophrenic. It has NO idea what it is? Is it campy? Is it serious? Do we want to look like a comic book? Do we want to look solid and real? And because it doesn't know, it moves from camp to pathos in such a clunky way that the audience doesn't know either.

They just know it's not... right.

It's the same with the Green Goblin.

Although he was really The Joker in actions and word, he becomes the comic relief and almost a friend to the audience. The audience "likes" him. He is the only well-rounded character in the whole piece, going through tragedy and full transformation, establishing empathy as well as that "like" bit with the comic relief.

And if the audience has begun to like your villain, you can NOT kill him off wantonly like they do here, without there being some redemption. And you certainly don't have your hero kill him in a cowardly way.

I'm sorry folks, but that's Storytelling 101.

Because of both of these very important things, and ALL of the above, "Spider-man: Turn off the Dark," is an incomplete and unfulfilled experience.

I understand that this re imagined book of the show was reworked by writers Glen Berger and Roberto Aguirre-Sacasa, one or both with storytelling experience. I'm wondering what they changed. But what I'm wondering the most, is why didn't they change MORE so that there was a better story?

I could also see nothing of Taymor left at all, from the supposedly disappointing first imagining, except the Arachne song, so I do wish I'd seen both to compare.

Could it have been as bad as this?

I for one was hoping to see at least a hint of the brilliance in "Spider-man: Turn Off the Dark," that I found in "The Lion King."

That my friends, is an eye-popping, soul-touching masterpiece, which takes you through levels of emotion in a few hours, that I know, brings tears, and makes you address places in your heart that we often avoid.

You leave that theatre with a spring in a step, humming the songs you just heard, and with some strange desire to do "something," well... good. You can NOT help but smile. I dare you.

If there was anything like that in the original version of this Spider-man vehicle, they were remiss to lose it.

Not even with another year of reworking, will "Spider-man: Turn off the Dark," ever be THAT. It has about as much substance as it's blow-up villains.

It could have been so much more.

Bottom line: If you have money in your pocket for a Broadway show, go see "The Lion King," while you still can. See it twice.

If you want to see Spider-man, I'd take that $100 plus dollars, and go on the Spider-man 3-D adventure at Universal in Florida instead.

It's a much more fulfilling ride.

By the time in the musical when the giant cardboard Spider-man swings out three stories high to catch a giant cardboard baby supposedly falling from a conflagration warped cardboard house, even while my eyes were rolling back in my head, I stopped to think-- for the sake of the cast and the ticket buyers if nothing else-- that it was a pity that nobody found a way to save this show.

"Spider-man: Turn Off the Dark," is currently playing at the Foxwoods Theatre in Manhattan.

Eating Manhattan: Finding the Perfect Pairing at Philip Marie

2011-06-10T14:24:00.000-07:00

In my eating foray's it seems that I have been neglecting the West Side! So sorry. I'll fix that right now!

Mostly because the establishment known as Philip Marie in the West Village, has me on their mailing list....and enticed me with a wine and food pairing I could not resist: "Some Like it Red."

Why not? It's an opportunity to introduce you to a restaurant where I can honestly say I've never had a bad meal.

I first started going to Philip Marie because my friend plays Mardis Gras gigs there (oh how I love a place that supports live music in Manhattan). And I still go back for those when they occur, and bring friends in tow. Let's face it: Nothing beats fine Cajun food and a fantastic band together.

Really, the food is so excellent and unusual at Philip Marie, that I'll take any excuse to visit.

So, with my regular "Eating Manhattan" cohort, Ric out of town, I grabbed another victim as my dinner companion, and off we went on a culinary adventure.

At least one would hope.

Philip Marie boasts of being a place for "New American Cuisine in the Heart of the West Village." It is indeed a gem of a restaurant, with warm inviting decor, large windows, comfortable tables, nice acoustics, a welcoming bar, out of this world wine list, and fusion of flavors that I have found seldom in Manhattan, and certainly not at their reasonable prices.

Their executive Chef is John P. Grecco III. Before opening Philip Marie, he worked at such establishments as San Domenico (NYC)and Imola (Italy), Cipriani and Harry's Bar (NYC), Le Cirque (NYC) and Torre di Pisa (NYC). You may remember him from one of the Food Network's "Chopped" competition on TV. (Most of us think he was robbed.)

So you know you are in for an event when you walk through the door.

The "Some like it Red," food pairing June 9th, was a double whammy for me. Great food assured, and Red wine, which is my favorite. No-brainer all around.

Arriving before my dinner companion, I ordered Fried Green Tomatoes off the menu ($6.95), and when he arrived, we followed with Butternut Squash Soup ($6.50).

Then we eased in for the main event! Note here that with the food pairings, a glass of wine is served to compliment each course. Half a pour. And the servings as well, are not huge. It's more like having Tapas. Little plates to compliment the wine. However, we have found that for a nominal fee,and quantities permitting, the kind folks at Philip Marie WILL let you order a second of anything you like.

++++++++

Here's what was planned for this event:

First Course:

Organic Cactus Risotto with black truffle essence and crumbled Spanish Chorizo.

Paired with The Prisoner Red Wine (Napa Valley, CA 2009)

Second Course:

Double Braised Beef Short Ribs glazed in Teriyaki and served with Sweet Potatoes, Mashed.

Paired with Sticky Beak Pinot Noir (Sonoma Coast, Ca 2009)

Third Course:

Filet Mignon of Wild Boar wrapped in Applewood Smoked Pancetta, and served with Sweet Potatoes mashed with Wild Mushroom and Fig Sauce

Paired with Dievole, Novecento Riserva Chianti Classico (Vagliagli, Italy 2006)

Fourth Course:

Deep Fried Chocolate Truffles with Pear Sauce and Shaved White Chocolate.

Paired with Piper-Heidsieck Champagne Brut (France)

++++++++

I'll start with the appetizers:

It seems that it is increasingly difficult to find good Fried Green Tomatoes. I know the ones my Grandmother made, and the ones my Mom still makes, are tangy and flavorful, without the need for a spicy mayonnaise to make them so. They are also tender and thinly cut, and I think the fried discs I've had both on a recent trip to Charlotte, and here at Philip Marie, are suffering from two things: Not being home grown tomatoes, or being allowed to soften, AND are cut way too thick.

In short, no more fried green tomatoes for me. I give up. But, in Philip Marie's defense they were better than the two varieties I tried in North Carolina.

The Butternut squash soup however, was served at the perfect temperature, and had a melody of flavors, and velvet texture, that would have me ordering it over and over again. A real winner.

On the food and wine pairings, when we were brought our 1/2 pour of The Prisoner Red, we were told the "spicy flavor of the wine cancels out the chirizo, letting you enjoy the other flavors of the risotto."

Our first words to each other were, "But we like the flavor of chirizo, and why would we not want to taste that. And why put chirizo in if you can't taste it."

The risotto was interesting, albeit a little watery for me. BUT, The Prisoner Red is a wonderful, drinkable wine that had an amazing aftertaste. I will have it on my "Like" list for some time. But they were right. It did sadly cancel out the chorizo.

Course Number Two in a word, was flawless. The double braised short ribs were tender and meshed with the flavors of the sweet potato mash. In addition, the Sticky Beak Pinot Noir seemed the perfect wine to go with the dish, and I really enjoyed the smokey flavor that sneaks up at the end.

Course Number Three... I've had wild boar several times now and keep hoping for an epiphany. Though lean, the flavor never really comes out. Also, with this course, I was a little dismayed that sweet potatoes would be served twice in one session, and although these were supposed to have wild mushroom and fig sauce, it tasted exactly the same as the sweet potatoes served with the short ribs. I also wasn't crazy abut the Chianti Classico. The aftertaste being a little acidic.

Course Number Four... pure heaven on a plate. Could not have been better, and small enough to not make you stuffed. You can not go wrong with Piper-Heidsieck, one of my favorite champagne Brut's.

A few things to say about the staff at Phillip Marie. They are always wonderful. And that was still the case tonight. When it took awhile for our first course to come out, the person serving us, gave us a smiggen more of a wine pour for our trouble. We did not say no to more Prisoner Red.

As for the conclusion of the meal. We so loved the braised short ribs, that we asked to order another round, and the owner let us do so, at a very reasonable addition ($10. each for the food and the wine. Again, these are dim sum portions, one order is roughly 1 short rib.)

As a little side note, this was funny too, because my friend tried the Prisoner Red with the short rib the second time around, instead of the recommended Pinot Noir, and discovered he should never have questioned the chef's pairing to begin with. :-)

The most unbelievable part is this little adventure never breaks the bank. This particular wine and food pairing was only $32. a person.

A wonderful culinary excursion once again. And a chance to put on a wine snob hat for an evening without the wine snob pocketbook. :-) And although the portions and pours are deceptively tapas sized, the cumulative affect has you leaving very satisfied.

Philip Marie is located at 569 Hudson St. at West 11th. You can visit them on line at: www.philipmarie.com

They offer their wine and food pairings weekly, and have many other specials and events throughout the month.

I highly recommend this restaurant. Although I can pick at a few things here and there, they are consistently amazing, and you'll always find something extraordinary on the menu.

--Renee

(Photo taken from the Philip Marie website: www.philipmarie.com)