I’ve been attending the Maryland-based indie comics convention SPX — that is, the Small Press Expo — for 15 or so of its 36 years, and this time around took the opportunity to dine with artist Paul Kirchner, who breathed the same comic industry air I did during the ’70s.

Paul broke into comics in the early ‘70s through a fortuitous series of events which had him meeting the legendary comics artist Neal Adams, who introduced him to DC Comics editor Joe Orlando, and within the week getting a gig as assistant to Tex Blaisdell helping him out on the Little Orphan Annie comic strip and stories for DC’s mystery books. He also worked for awhile as assistant to the great EC Comics artist and Daredevil innovator Wally Wood. He moved on from mainstream comics to draw two wonderfully surrealistic strips — “Dope Rider” for High Times and “the bus” for Heavy Metal. His wide-ranging creative resume also includes a graphic novel collaboration with the great writer of detective novels Janwillem van de Wetering, designs for such toy lines as Dino-Riders and Spy-Tech, and much more.

Paul and I had dinner once the con wound down at the nearby and recently opened Commonwealth Indian restaurant, which had been favorably reviewed by the Washington Post.

We discussed how a chance encounter in art school led to him assisting cartoonist Tex Blaisdell on Little Orphan Annie, the life lessons he learned during his apprenticeship with EC Comics legend and Daredevil innovator Wally Wood, the ruse he used to convince the editor of Harpoon into commissioning more installments of his famed Dope Rider strip, how the office of Screw magazine was nothing like you thought it would be and the office of High Times was everything you thought it would be, where he learned “the only thing that’ll kill you bigger than a flop is a hit,” the techniques he uses to dream up new episodes of his surrealistic strip “the bus,” his druggiest fan encounter, our joint memories of “Fabulous” Flo Steinberg, Marvel’s “Gal Friday,” his graphic novel collaboration with famed writer of detective fiction Janwillem van de Wetering, the first person he ever met in comics, and much more.

Here’s how you can eavesdrop on our conversation at Commonwealth Indian restaurant — (more…)

Back when I told you what I bought at this year’s Small Press Expo in Bethesda, I mentioned that I’d attended three presentations. What I didn’t say was that I recorded the one that interested me the most, “The Secret History of Women in Comics.” Not just so I could share it with you, but so that my wife, Impish Irene Vartanoff, who wasn’t able to be in the audience that day but who could be considered a part of that history, would be able to witness it, too.

Sorry it’s taken me two weeks to get this up on YouTube, but, hey … I’ve been busy.

In any case, the panel, held Saturday, September 10, 2011 at SPX, was described as follows on the program: “The increased involvement of women in the comics field over the past several years has been a significant positive change in a historically male-dominated industry. However, just as it’s worth celebrating this progressive revolution, it is also worth noting that today’s women cartoonists are part of a lineage of pioneering women who have made many contributions to the field. Heidi MacDonald will discuss this history with Jessica Abel, Robyn Chapman, Alexa Dickman and Diane Noomin.”

And here it is!

I didn’t get to attend the Small Press Expo last year because our trip to Melbourne for Worldcon trumped everything, so I was glad I had no SPX conflicts this time around. I only attended Saturday, but still managed to make it to three programming items—a Q&A with Roz Chast and Kate Beaton about working at the New Yorker, a panel on the Secret History of Women in Comics moderated by Heidi MacDonald and featuring Jessica Abel, Robyn Chapman, Alexa Dickman, and Diane Noomin, and a presentation by Chester Brown on his new graphic novel Paying For It. In between all that, I had drinks with John Sullivan and Jamie Gegerson, and of course made several circuits of the dealers room.

I managed to resist most impulse buys, but here are three things I found I couldn’t resist.

The first book that caught my eye was Frog & Owl: Regret is for the Weak, by Molly Lawless. There was something about the title that attracted me. Maybe it’s from too much reading of Frog and Toad are Friends to my son a couple of decades ago, but the idea of a dysfunctional relationship of a similar animal pair attracted me. So I picked it up and started to read.

The second strip in the book, titled “Love Is” (see below), made me laugh. And as I then told the artist, “OK, you made me laugh. Now I have to buy it.”

It was a good choice, because when I read the book on getting home last night, Lawless made me laugh a LOT. (more…)