Dave Cockrum: We Stand, Like, On The Shoulders Of Giants, Eh?

Illustration for The Uncanny Dave Cockrum: A Tribute (2004)
Art by Dave Sim
(Click Image To Enlarge)

DAVE SIM:
(from a letter to Clifford Meth, January 2004, reprinted in Dave Sim's Collected Letters 2004)

Well, here it is. I really didn't have any idea of what to do and started with Dave's signature and then incorporated the Cerebus as Wolverine as Bob and/or Doug [McKenzie] – realising that it was more of an editorial cartoon than the illustration I started out doing. As usually happens when it takes a few hours to do something doubts set in. Do people even remember The Great White North or Bob and Doug [McKenzie]? As was the case with most of my work on Cerebus, I just go with my own gut instinct and try to get it as close as I can to how I pictured it in my head. The original punch-line was going to be "which is why Cerebus is sitting here dressed like a bumblebee in an S & M porno flick, eh?" Which was probably too controversial and offensive. And then it was going to be "on accounta they wouldn't let Cerebus do the topic he wanted to do which was 'Why don't those hosers at Marvel give Dave Cockrum some work, eh?'" I still can't quite believe that there isn't a book somewhere in that pile of ---- they put out every month that couldn't benefit from Dave Cockrum's hand.

Dave Cockrum (1943-2006) was the comic book artist known for his co-creation of the new X-Men characters Nightcrawler, Storm, and Colossus, who made their debut in Giant-Size X-Men No. 1 (Summer 1975), and then in a relaunched Uncanny X-Men (beginning with issue #94).

Support the Dave & Paty Cockrum Scholarship at the Joe Kubert School by bidding on the sale of Swords Of Cerebus Vol 1-6 from Dave Cockrum's personal comics collection. (Bidding ends 16 January.)

(Post submitted by Sir Boltagon. Thanks!)

Jeff Smith: Twenty Years Of Cerebus

JEFF SMITH:
(from Feature Vol 3 #4, Winter 1997)

Starting out publishing your own comic is a little like being alone in the wilderness. Nobody can see you and nobody cares. But if you pick yourself up and start heading closer to the village and the castle, you'll eventually come across people who will help you on your way.

This was certainly the way it was for me on my journey to the land of comics, and for the first year or so I had the opportunity to meet many new friends and was the happy reciptient of more than my share of good fortune.

I was still basking in the glow of some good reviews and some clever little business transactions as I approached the huge, heavily secured gates of the great castle wall - but coming to the giant portal is still a long way from getting it open. As any one who has ever tried to get into comics knows, those are mighty formidable gates!

And then I was introduced to Dave. Come this way. Dave, you see, has his own door.

It was like entering a low, dark, rough-hewn stone passageway through the impenetrable fortress wall above.

It was smokey and close in there, and moving past this secret gatekeeper would not be easy, but the tunnel itself was indeed an authentic anti-chamber just off the large, sunlit yard that was the world of comics.

Out in the world of book publishing - the world of Bantam, Doubleday, Borders and Walden's - the concept of self publising is so radically different than it is in comics. It is associated with words like embarrassment, vaniety and failure. In fact, most, if not all newspapers have an actual policy against reviewing self-published work. How different is the world of comic books where self-publishing is associated more with terms like choice, artistic freedom, integrity and guts. Most of the credit for this seemingly unbelievable dichotomy belowngs to one man: Dave Sim. Dave has patrolled, maintained, and guarded jealously the length of this passageway, fighting for the self-respect and integrity of self-publishing with a singleness of purpose that remains undimmed to this day.

I stayed in the passageway for a time. There were other people there. Some were visitors; some looked like thay had taken up residence. Some had begun to blow on tiny horns and wave little flags. I mostly remember it as a Golden Time when massive forces rocked the comics world and we were on the dawn of a new age where the creators had the prestige and means to pursue their own dreams. And it wasn't coming from the big publishing houses - it was coming from the independent publishers and our little grotto! Sadly, one of the Great Houses, feeling threatened, was unable to react nobly, and found it preferable to set the castle on fire rather than share its wealth.

But even before all these tumutous events reached their climax, the similarities of art and business between Dave and myself were becoming outweighed by the differences. The time came for me to leave the rough-hewn chamber. It surprised a lot of people, but it was inevitable. Dave was always territorial about his passageway and I preferred to go ahead into the open expanses of the unknown. Dave and I both needed more elbow space.

After all is said and done, however, there is one fact that cannot be dimmed: If it wasn't for Dave doing what he's doing, I wouldn't be doing what I'm doing. And I am very grateful to be doing what I'm doing...

Congratulations on 20 hard-won years, Dave.

Jeff Smith launched Cartoon Books in 1991 to self publish Bone, a humor comicbook about the adventures of three cartoon cousins inspired by the work of Carl Barks and Walt Kelly. In 2005, US publisher Scholastic entered the graphic novel market with a full color version of Bone.

Drinking Buddies

"Drinking Buddies" Print
Art by Dave Sim & Gerhard

A gorgeous 8.5 x 11 inch print by Dave Sim and Gerhard originally created in the early 1990's as a fundraiser for the CBLDF, this print is signed by Dave Sim, printed on heavy stock, and is once again for sale from the CBLDF.

Gerhard's Photos: Jeff Smith

GERHARD:

Jeff Tundis had posted a bunch of my old photos on his Art of Gerhard website quite a while ago. I've just started going through my old photos again and here are a few that aren't on his website. 

Scenes which we will probably never see again: Jeff Smith and Dave share a table at a convention in Puerto Rico.

Dave, Jeff Smith and his wife Vijaya enjoying some sun and sand as hell starts to freeze over.

One of my favourite "out the airplane window" shots. Bye, bye Puerto Rico… Bye Jeff… Bye Vijaya.

Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.

Gerhard's Photo: Meanwhile, Back In Canada...

GERHARD:

Jeff Tundis had posted a bunch of my old photos on his Art of Gerhard website quite a while ago. I've just started going through my old photos again and here are a few that aren't on his website. 
 
Dave gets behind the kit in the jam room and lets loose. He wisely decides to stick with writing and drawing.

I show off my amazing athletic skills and grace. This was taken just before I posed for the "When you know what it means to be Gerhard" back cover which has already appeared on this blog.

I start to realize that I may have a drinking problem (or a problem drinking).

Best.    Balloon.   Ever.

Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.

Gerhard's Photos: Manchester, Vermont

GERHARD:

Jeff Tundis had posted a bunch of my old photos on his Art of Gerhard website quite a while ago. I've just started going through my old photos again and here are a few that aren't on his website. 
 
1995: The Equinox Hotel, Resort and Spa, Manchester, Vermont. Absolutely, without a doubt, hands down, the all-round, BEST EVER venue for a signing:

Uncle Steve really came through in procuring this amazingly lavish location for the Spirits of Independence tour.

There was a good turnout and everyone, with the possible exception of the hotel staff, enjoyed the show.

Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.

Drawing The Black Tower

Cerebus #71 (February 1985)
Art by Dave Sim & Gerhard

GERHARD:
(from an interview in Feature #4, 1997)

When I started, the nice thing was; Cerebus had just become pope, so there was quite a shift - and Dave was looking for a shift - in the feel of the book. This allowed me to do things in pretty much my own way. The hotel where Cerebus was hold up was a new location. I just tried to keep some consistency with the previous issues, the look and feel of the Regency Hotel for instance. Shortly after I started, the Black Tower, the mountain that the upper city sits on, became a central figure in the book, so that was something I had to deal with. Other than that it was pretty well up to me what appeared in the background of the book. Dave and I will discuss things. When Dave's got something specific in mind he'll sketch it out or he'll just write "window" or "door", or something, but I have a lot of leeway... I don't think it's a coincidence that the Black Tower didn't become a central character until Dave didn't have to draw it any more.

Gerhard provided background art to Dave Sim's cast of Cerebus characters between issue #65 (August 1984) and #300 (March 2004) - contributing to over 4,700 pages of comic art, as well as numerous Cerebus covers and illustrations. Keep up to date on all of Gerhard's current projects at his blog and website, including details of his new book, The Wish.

Truth, Justice & The Corporate Conscience

Editorial cartoon in WAP #4 (July 1988)
by Dave Sim
(Click Image To Enlarge)

STEVE GERBER:
(from Truth, Justice & The Corporate Conscience, WAP #4, July 1988)

...Keep Siegel and Shuster's long years of agony in mind each time you sign a DC or Marvel voucher and every time you read the words "work made for hire" above your signature. Ask yourself what traditions you're helping to perpetuate. Ask yourself whether you really feel invulnerable to the kind of strong-arm business tactics that, for a time, made a mail boy and a recluse out of the creators of Superman. This year marks the Golden Anniversary of Jerry and Joe's 1938 release form. Fifty years of screwing creators is about forty-nine and-a-half too many.

Steve Gerber (1947-2008) was a comic writer best known as co-creator of Howard The Duck. He was inducted into the Will Eisner Comic Book Hall Of Fame in 2010.

On his My Rant Blog, Steve Bissette details the content and historical context of the 9 issues of WAP!, "the forgotten activist pro-zine", published between 1988-1989, which included contributions from Alan Moore, Frank Miller, Dave Sim and other comics creators.  

Stretching 100 Pages

Cerebus #119 (February 1989)
Art by Dave Sim & Gerhard

DAVE SIM:
(from an interview in FA #115, 1989)

...I've changed [comics] in a way that nobody else is interested in doing. As soon as you say you're going to do a 1,200 page story it becomes a different thing. It's the difference between doing a two minute animated short and doing a Snow White... The more pages I allow myself, the more minor incidents I get into. I'm not doing 1,200 pages of densely spaced activity. Then you can get to the point of seeing how people gesture and how people reveal themselves. Less exposition. The fact that there's no captions. That wasn't done before but people forget that. Anybody doing a lengthy story - and when I started the 500 page High Society a lengthy story was a 60-pager - their first instinct was to start putting captions in it. The Sacred & The Profane [by Dean Motter and Ken Steacy], which is probably the longest story that was done in comics until I started doing the graphic novels in Cerebus, there was such an urge on their part for some reason to have this exposition up in the corner of the panel as if, if we leave this out, we're diminishing the length of the story. I mean, it's a 100-page story, so to make it seem even more magnificent we'll cram it full of words. My idea was, why not take that 100 pages and stretch it out to 1,200 pages, and all the things that you would put in the captions, do it over the course of 12 panels. I sit down and say OK, I want to get this across. Jaka feels this way, and Rick's reacting to her in this way. How do I get this across? ...How do people talk? Where do the pauses happen?

Twitter Talk #6

Follow John Linton Roberson and A Moment Of Cerebus on Twitter.

Going In Unto The Light

Cerebus #300 (March 2004)
Art by Dave Sim & Gerhard

DAVE SIM:
(from a letter to Simon R. Green on 26 July 2004, Dave Sim's Collected Letters Vol 2)

...If you refer back to the prologue/dream sequence in the beginning of The Last Day, and the actual creation of the Light and what that meant for all and sundry innocent and semi-innocent bystanders I think it might be a little clearer. I expect that will be a difficult part of the story for some time to come since my own supposition is that the first creation of the light was no cause for celebration and that's very much at variance with most people's ideas of the light or of light in general. The fact that Cerebus had just been the recipient of the entire Origin of Everything dream sequence and suddenly found himself "going in vnto the light" less than a day later is intended to explain his attack of the heebie-jeebies as depicted. And, obviously, I don't have an answer for anyone here, just what I consider a better question. Assuming that this is something we all go through (judging by near-death experiences we have all read about), what's your best guess? Go into the light? Why do you think that's a good idea? Chester Brown told me that he read a story written by someone who had speculated that going into the light just meant that you were going to be reincarnated and who, therefore, cautioned against it....

Gerhard's Photos: Groo The Wanderer

Groo / Cerebus Jam (1992)
Art by Sergio Aragonés, Dave Sim & Gerhard
Photo by Gerhard. Click image to enlarge.

GERHARD:

Okay, this photo has me really confused... my initial impression was that this sketch was done at a convention or signing, Dave probably roughed it in, Sergio did his bit, Dave inked his part, I added the backgrounds and colour and then we auctioned it off. But that doesn't explain why the "DS 'n' Ger" signature is dated '92 and Sergio’s is dated '91.

George Feyer

DAVE SIM:
(from The Blog & Mail #410, 26 October 2007)

George Feyer (1921-1967). He was a television cartoon sketch artist. The only one I was aware of. Back in the 50s and early 60s before the structure of television was better understood, it was considered entertaining to have a cartoonist who could sketch as fast as Sergio Aragones do cartoons on camera in response to an interview question or to illustrate a children's story narrative. Hard to believe when you see old kinescopes of it. It's the living incarnation of Dead Air. I wonder how many cartoonists got the bug from watching guys like Feyer "doing their thing"? I wonder if I did?

A 21st Century Guide To Self-Publishing In 8 Easy-To-Follow Steps

A.P. FUCHS:
(from a letter to Dave Sim, 23 August 2012)

Since my company is web-based, with 95% of books ordered being online (whether for print or eBooks), the remaining 5% sold at conventions and booksignings, and since I've been able to sustain a living for close to three years based on that, and given the state of tech these days, I think I'm onto something.

Though I've slipped recently due to a major burn-out but am now getting back on track, I agree that, as you’ve stated - can't remember where - that when folks ask you for the secret to Cerebus' success, you said keeping the book on time is the reason. I believe you. On-time books keep readers interested, give them their fix at regular intervals, and, assuming the sales are there, enables the creator to maintain a steady level of interest as he can sink all his time into his book instead of dividing the comic against a day job.

Here is my current model for Axiom-Man. I'm open to any feedback and/or suggestions and/or "what you're doing is crazy" comments:

1) Release the book on time in print, electronic download, and twice a week post a page from the comic on Mondays and Thursdays. The reason for the webcomic is to raise awareness of the character to help feed print sales and downloads, likewise, if folks like what they read, they will be apt to pick up one or more of my novels.

2) Forego Diamond for the print periodicals. Due to finances, discounts and such, I'm opting out of Diamond Distribution for the monthly book, instead releasing the copies of the comic for direct sale, short-running each issue at 300 copies. This cost enables me to keep the price low on the book and still make close to a buck an issue. Direct sales include direct ordering, conventions, booksignings, and trunk-of-the-car sales.

3) Release each print issue through Ka-Blam (which is like ComiXpress), and utilize their print and digital storefront at Indy Planet and Indy Planet Digital respectively.

4) Release each issue in digital format through as many channels as possible (Kindle, Nook, iPad et al.), treating each download as if they are the print counterpart. A sale's a sale, after all.

5) Once a particular story arc is complete, collected into a graphic novel. Also, ala Mike Mignola, include a bonus story to set the graphic novel apart from the periodical book.

6) Use Diamond for graphic novel distribution.

7) Use my printer's amazing distribution system to make the graphic novel available to all the online hotspots like Amazon.com and its sister sites, Barnes and Noble.com, and others. Also offer for direct sale, whether by order, conventions, booksignings, trunk-of-the-car sales, etc.

8) Offer the graphic novel at a fair price for digital download via all the same channels the periodical was. Perhaps offer the same direct as long as I can ensure proper shopping cart procedure and security through services out there that specialize in online digital product ordering.

Part of being a one-man-band, as you know, is time management as it would be all too easy to turn the running of the company into the fulltime job and not the creating of comics. All of what I mentioned above - aside from direct sales - is based on the do-the-work-once-than-don't-worry-about-it model I've been using for eight years. This then frees up time for creating, marketing, and personal time with family. Might even be time for sleep, if you're into that sort of thing. Har har.

The idea(l), I think, is to cast as wide a net as possible distribution-wise without unintentionally getting yourself into a sea of paperwork and a big mess of places to keep track of, in turn losing yourself in the chaos and losing money and time as a result. Streamlining is so critical when it comes to being a one-man operation. I'll keep an updated list of distribution channels on my blog How To Self-Publish Books & Comics The Right Way.

DAVE SIM:
(replying to A.P. Fuchs, 24 December 2012)

Your self-publishing model looks like "the Berries" to me (speaking as a complete Luddite).  I'd even go so far as to suggest that you e-mail to A Moment Of Cerebus and run it as Dave Sim's Guide To Self-Publishing In The 21st Century In 8 Easy To Follow Steps (where you can also point out that although it's actually YOUR Guide To Self-Publishing you're using my Luddite name for "branding" purposes only and that -- although not completely understanding what's going on -- I've given you my blessing in doing so).

A.P. Fuchs is the writer/artist of the self-published Axiom-Man comic book series.

Deconstructing Comics: High Society Review

DECONSTRUCTING COMICS:
(from the Deconstructing Comics Podcast #340, 31 December 2012)

Rereading High Society again for this podcast - the last time I read it would have been like 10 years ago - it blew me away all over again. Absolutely. You're definitely coming into an artists work that is already very strong. Not as good as its going to get, but pretty darned good.

High Society Digital (Cerebus #26-50) is available to buy for 99 cents an issue from Cerebus Downloads.

'Liberals' vs Real Liberals

Cerebus #179 (February 1994)
Art by Dave Sim & Gerhard

DAVE SIM:
(from 'Dave Sim Responds To The Fantagraphics Offer' at TCJ.com, 29 September 2012)

...I DID hope there might be a voice or two expressing gratification coupled with appreciation that, as an example, Jeet Heer (who is probably the furthest to the left in the comic-book environment) and Dave Sim (who is probably the furthest to the right in the comic-book environment) were able to clarify their differences while also remaining focused on the subject at hand: said 6,000 page funnybook. I mean, that's the mental image I've always had of the comic-book field in general, people respectful of differing and particularly minority viewpoints, my confidence that the Angels of Our Better Natures will prevail more often than not in those situations and we accept that it's a given that political differences between people will always exist and that it is a given that people of good will and good conscience will always assess the available facts and come to radically different conclusions. And that that's how it should be.

That's what democracy is all about, Charlie Brown.

I myself am gratified that the temperature seems to have dropped considerably here on the Internet, just plotting my personal experiences with it, from the (...metaphorical) lynch-mob psychology that took hold after No.186 [in 1994] and then "Tangent" [in 2001] (compelling Bill Willingham to give me a phone call out of the blue: "Are you aware of just how BADLY you're being tarred-and-feathered on the Internet right now?" Well, yes, more by the complete radio silence that had descended around me than by anything of which I was specifically aware...

During my online promotion tour for glamourpuss back in 2008, the temperature seemed to have come down a number of degrees. But, I did insist on sequestering the discussions of feminism. I'm interested in feminism as a political movement and the various ways it expresses itself. I read a LOT of politically correct news items and commentary. But, I don't think EVERY discussion needs to have feminism at its core. But it became obvious that there was a division in the comic-book field which I would describe as liberals and Real Liberals. And it seemed to me that the Real Liberals were deluding themselves that those self-identifying AS liberals thought the same way they did: that they believed in pluralism and open discussions and tolerance of minority viewpoints and that this was what 98% of the comic book field was like. I mean, I thought that way, myself until the evidence suggested that the percentages were far, far away from where I thought they were. I wanted, for obvious reasons, clarity of what my situation was.

Given that all I was REALLY interested in was clarity, I finally thought the best recourse was the petition. If you think I'm a misogynist, that's fine. You're entitled to your opinion. If you don't think I am, please sign the petition so I know and can limit my social contacts to people who are not deeply offended by my existence...

And that's where that one stands. But I have to say that I have been gratified that there hasn't been that impulse to force feminism into every discussion about HIGH SOCIETY AUDIO DIGITAL and discussions of other publishing opportunities for me and CEREBUS that I saw in 2008. Those INTERESTED can go to BLEEDING COOL and read... my best current thinking on the subject of whether men are superior to women...

Please consider signing Dave Sim's iPetition.

Dave 'n' Ger: Living The Dream

Back-cover photo, Cerebus #87 (June 1986)

Cerebus vs Madmen

Glamourpuss #18 (March 2011)
Art by Dave Sim

For the first time since Cerebus #300 in March 2004, Cerebus returned to comics in 2011, in a ten-page sequence in Glamourpuss #18, trying make sense of the celebrity, movie and music culture of 1950s America.

Back issues of Glamourpuss are always available from ComiXpress.

Four More Years!

Poster: Four More Years! (2000)
Art by Dave Sim

A 'Dave Sim' Sketch by Bill Sienkiewicz

Sketch: Dave Sim by Bill Sienkiewicz (1984)
Cerebus #65 (August 1984)