Howie Chaykin, a writer/artist who’s been on the comic scene since the early seventies, has always been a bit of an outsider. While he’s done his share of the standard and not so standard mainstream hero fare, has generally exemplified his best work among the “anti mainstream” tendencies. After all, a guy’s gotta work, right? But it’s within those oddball, fantasy concepts he reveres and excels in.
Early on at DC, working on the Burrough’s revival Weird World series, the wonderful Sword of Sorcery adaptions from Fritz Lieber; the related creator owned Cody Starbuck from Gary Frederich’s Star Reach label; culminating here on his most successful creation (in my own humble opinion), American Flagg for First comics. About this time he matured, decided to push the envelope on “acceptable” comics, and went off on a series of outlaw concepts for the mature readers Vertigo line, did the nasty x rated Black Kiss series at Vortex, and stayed away from the big two, only dipping his feet in the water for the steady paying work. During a recent reentry into semi mainstream, he collaborated with writer Matt Fraction on the wonderful (but also not fer kids) Satellite Sam series at Image.
While all this time having both steady income and critical praise, he still kept that outsider, trend bucking cynic that picked scabs frequently off those with gentler tastes. Whether brought on by personal experiences or sympathetic attitudes towards his fellow creators, this history in comics has brought him to create Hey Kids! Comics!, a five issue history of comic books and the creators that brought them to life and suffered greatly for the experience.
Chronically depicting the lives of three comic books creators that spent their lives working within our favorite hobby, he covers lots of ground by splitting chapters by decades, showing the aging and growth of our protagonists and the world they inhabit, warts and all. It’s a good way to keep all the misery from overcoming us, done in several page chapters, each issue repeating the format while continuing the main story, as well as some of the more scandalous and heartbreaking tales from its history.
Chaykin spares no expense here in the lives of these creators, as they struggle to continue to earn a living, meanwhile watching the business grow and evolve around them, swallowing decency and mutual friends along the way. The comics business is shown by its soft underbelly, the stuff you didn’t want to know, but knew it existed. The many lives destroyed in its endless conquest for fame and the almighty dollar.
While a decent understanding of comics actual history will provide dividends to those who study such things, the synonyms of those depicted will entertain and horrify any reader. The industry whose products we loved for a lifetime had their origins in stories not far removed from EC horror comics of the fifties. Both sides of the coin are represented and contrasted, the wealthy publishers, the insane editors, and the mercilessly taken advantage of creators, adding up as entertainment for mainstream comic readers that probably didn’t even know they existed for the most part.
Chaykin is in his element here, ceaselessly parading it all for us, never withholding the sordid truths, the monetization of sex, the racism and ever present class warfare, all adding to our precious comic memories, unshielding our eyes from it’s mean and devastating truths.
Aesthetically, one can say Chaykin here has some of his ticks that some readers may find off putting; his slight visual repetitions from one character to another and an expanding list of characters can make you work a bit to keep it all straight. I read each issue a couple of times, then blew through all five for a much more coherent and continuous read. The sheer cynicism on display here could turn off some readers, but its the subject matter here thats off putting, Chaykin’s talents only serve too well the stuff he’s depicting. For me, these ticks can be forgiven. After all, Howie is in his seventies, and he’s producing here an incredible tale- a sympathetic story thats incredibly sad mostly because it is real and the casualties are those we grew to love and admire in our desire for four colored fairy tales.
Chaykin only works with A-list talent, so kudos also to Wil Quintana’s rich, lively colors, and the never ending varieties of Ken Bruzenak’s lettering. Also assisting in his line up are several guest stars, helping him create the detailing that helps give the book life and it’s authentic touch, as well as back matter thats essential.
Despite whether you can stomach the details and the story, the utter lack of ethics or morals portrayed by those in charge that benefitted the most from them, there can be no doubt that (paraphrasing from the book) comic books are truly the ATMs of the media development industry these days.
Howie, you’re a tough read. But somebody’s got to do it, and while I’m sorry its you, you are the best fitted for it. Thank you.
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