FROM THE EDITOR’S DESK: Joan Hilty on STUCK RUBBER BABY

In her wonderful introduction to our new edition of Howard Cruse’s Eisner-winning graphic novel STUCK RUBBER BABY, originally published in 1995, Alison Bechdel (Fun Home) writes: “Howard recreates the details of life in the South during ‘Kennedytime’ with a staggering archival fidelity…accomplished long before there was such a thing as Google Image Search. Howard gathered references not with a few mouse clicks, but by digging around in library picture files, hitting the street with a camera and sketchbook, and by engaging in god knows what other time-consuming analog practices.”

Howard’s one of those “analog”-generation artists who later embraced the digital age without a blink, which is why you can learn about this book’s creation in astonishing detail on his eponymous website. Just for GRAPHIC CONTENT readers, I thought I’d pull out one of those details and get another tidbit about it from him.

Several of the book’s semi-autobiographical events take place at the Alleysax, a nightclub Howard based on a black jazz club just outside his hometown of Birmingham, where gays of both races mingled freely and easily with straight patrons in the late hours. He clearly remembered going there — but would readers believe such a place could exist in early 1960s Alabama, even in fiction? He had to be sure, so in 1990, he placed an ad in Alabama’s largest gay newspaper asking if anyone else remembered the club. Someone did, and wrote to him.

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Howard’s pen pal confirmed the existence of Sand Ridge Country Club — as you can see here — and ultimately much more. In a later visit to Birmingham, Howard spent hours with the writer’s friends, who told remarkable stories of lesbian & gay life from that era and then directed him to local black Civil Rights Movement veterans with equally remarkable stories. One of those activists, a straight local doctor, fondly remembered the area’s actual gay bars as “the only bars in town that had decent music.” The doctor later drove Howard to the location of Sand Ridge. It had burned down years before, but its foundation still stood — then and now, in the pages of STUCK RUBBER BABY.

From the Editor's Desk: Joan Hilty on Cuba

Final files are rolling in from Jose Villarrubia for Inverna Lockpez’s and Dean Haspiel’s CUBA: MY REVOLUTION, each page colored directly from pencils. It’s a beautiful stylistic departure for Dino, who’s dubbed the color scheme “a cross between Preston Sturges and I Love Lucy.” Now that’s a Valentine’s Day sneak peek waiting to happen — so, here you go!

We decided at the beginning that this would be a two-color book. That decision’s always the easy part. Picking the colors is harder. As we all learned in art class, black’s a color. So we’d need to stick with black and another color — or two colors and no black line at all.

On the one hand, CUBA is a dark political thriller set in the early years of Castro’s regime, as seen through the eyes of an idealistic young woman who falls out of love with the revolution’s turn to Soviet Communism. On the other, it’s a story set in the tropical light of the Caribbean, just as the revolution suspends Cuba in time, preserving it in the colors of the 1960s. So…what to do? We considered black and red, but that seemed too obvious. Too easy. Surely we could tinker around and come up with something else. Idealists.

I’m not gonna show you those results. Take my word for it, I’m doing you a favor. They weren’t working. One scheme made the book look like Christmas in the tropics. Another made it look like…a banana. Of course, Jose was the one who finally put us back on track. One of the best colorists in the business, he dragged us back to the original black-and-red scheme, and showed us how it could become a thousand different colors in two. And we fell in love — as will you, when this hits stores in September.

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From the Editor's Desk: Joan Hilty

By now, you’ve heard the news out of San Diego: Indie star Matt Kindt (Pistolwhip, Super Spy, 3 Story) will make his Vertigo debut with the graphic novel REVOLVER in August 2010. It’s a surreal thriller about an ordinary guy living in two wildly different realities, gradually realizing he alone has the power to avert the series of apocalypses that’s destroyed one world, yet finding himself freer and more alive there than he ever was in the other. (Check out this design sheet, which I think says it all.)

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My first introduction to Matt’s work was Mephisto and the Empty Box, his one-shot comic with Pistolwhip collaborator Jason Hall about a magic trick gone heartbreakingly wrong. I fell completely for his loose, gorgeous art and cinematic storytelling in just 24 pages. Now I’ve had the pleasure of working with him on 192 of ‘em.

I’m not just in it for the art, though. Matt’s the dean of what I call the St. Louis School of Speedsters. Like his fellow Missourans Chris Samnee and Brian Hurtt, he’s insanely fast and prolific. I believe Matt squeezed in three 8-pagers, the last bits of another 200-page graphic novel, and one 32-page minicomic for other publishers, all while wrapping up REVOLVER. And REVOLVER is wrapped up — I’m staring at it right now as I type this. All 192 pages of beautiful, creepy, thrilling, deeply moving blue-and-brown-toned magnificence. Done. Finished. In your hands in 2010. Heartbreakingly cool. Like magic, really.

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