More on My Resurrected Zombies,
Zulli's Turtle Reign Redux!

And a crisp Monday morning it is, too.

As I walked the length of our driveway, towing our garbage can down to the roadside for early morning pickup, I was dazzled by the early morning/night sky: as clear and sharp a sky as we've had this year, every star visible, the quarter moon low on the horizon. Beautiful!

_________

Speaking of 'Roadside' (the abbreviated form of my Johnson State College nickname, 'Roadside Frog'), my old JSC pal and fellow 'Subhuman' (the moniker attached to all of us on the subfloor of Governor's dorm) Dave Booz snail-mailed me terrific color copies of a couple of my hand-drawn promotional 'posters' from my JSC Film Committee days, circa 1974-76. Thanks, Dave!

This makes three old Bissette movie posters that Dave has preserved over the years and provided me scannable color copies of, and once the new computer setup is in place, I'll be posting this ancient art and an account of the JSC film days/daze for your early morning entertainment. Though only one of the three Dave lovingly archived stands the test of time for me (still proud of my ballyhoo and art for the showing of Mario Bava's Hatchet for the Honeymoon, which is better than any of the genuine promo materials ever attached to that film's US theatrical or TV exhibition, if I may say so myself), it's still a hoot to see this stuff after thirty years.

One of the posters is from the second (or third)-most infamous film showing I hosted at JSC, Paul Bartel's Private Parts (not to be confused with the Howard Stern film of that same title); so lurid was my promo, via poster and radio spots on JSC's college FM station, that the non-violence class chained the doors shut to Dibden Theater -- thus endangering those already in the theater!

This bit of activism resulted in a real hubbub on campus, though we did show the film, and to an appreciative and fully-entertained packed house (thanks in part to my shrill ballyhoo, but also to the instantaneous outrage against the Non-Violence class's actions; word spread like wildfire on the campus about the chaining of the doors, bringing people out of the dorms to see what film sparked such a stunt, instantly doubling audience size by the time the chains were down and the film began). My subsequent administration meetings with JSC muckamucks and the teacher and a couple students from the non-violence class was memorable, too, for the revelation that none of them had ever seen or heard of the film: they were reacting to my shameless, over-the-top hucksterism alone! David Friedman, William Castle and K. Gordon Murray would have been proud!

Anyhoot, thank you, Dave, for these blasts from the past. I'll find a way to get them up on this blog in the very near-future -- and a big howdy, too, to Sparky this morning.

___________________

A is for Ambrose...

Pg. 1 of "An Alphabet of Zombies,"

(c) 2007 Daniel and Stephen R. Bissette,
from the Accent UK anthology Zombies (2007)

(If you're just tuning in after the weekend, be sure to read yesterday's lengthy post and reveal on my and my son Dan's part in the upcoming Accent UK Zombies anthology before getting into this part of today's post...)

Here's another preview of what Dan and I cooked up for the Accent UK Zombies anthology, which will be out in May -- Accent UK's biggest anthology yet. It's a treat to be part of this, joining the UK creators (including Leah Moore and John Reppion, whose invite got me into this in the first place) and the many CCS artists who've completed stories: Jeremiah Piersol, Denis St. John, Jaci June, Bob Oxman, Sean Morgan, Blair Sterrett, Morgan Pielli, and more. Kudos to CCSer Chris Warren (aka Radical Warren) for scanning and prepping my work for submission, too.

FYI, Danny and I worked on "An Alphabet of Zombies" throughout the move, but the real fun was in the final week or two; having divvied up the panels equally (26 letters in the alphabet, 13 zombies each), we each cooked up some ideas for rhymes and names, shaking it all up and out in a fun breakfast at the Chelsea Royal in Brattleboro, VT (where our lovely waitress, Rachel Johnson, also pitched in, solving one name-stumper and thus earning a 'thank you' byline on the final page). There, making sure we were juxtaposing my zombies with Dan's to ensure a good mix of art (I inked everything, to pull it all together visually), we made the final attachment of names to portraits and cooked the text for the most amusing final script.

Dan, being far more musical and a sharper ear for this sort of absurdity than his pop, had the better names and rhymes, so he polished the final draft and wrote up the final notes I lettered from. I had to deviate only once from this final post-it-note script, to ensure our two shortest zombies (Gaelen and Yusef) weren't on the same page.


Though we could have overloaded the alphabet with movie zombies, we chose not to go there, save for our second and third portraits, visible on the page one sampled, above. Bub is, well, Bub, and if you don't know who he is, you've never seen a proper zombie movie, have you? Bub is by far Dan's all-time fave cinematic zombie, so he had to stay. More in need of explanation, though, is Carrefour; that entry embodies a pervasive generational gap, since Darby Jones's unforgettable Carrefour in Maurice Tourneur & Val Lewton's I Walked With a Zombie (1943) was the best zombie my generation was exposed to via frequent TV showings of the RKO film library (Darby Jones recreated the role in Zombies on Broadway, too, though that's not a film I'd recommend to any but the heartiest '40s horror movie buffs). So, Dan's fave movie zombie, my fave movie zombie, and we went with all-original stiffs and boneheads thereafter.

(That's one deadline out of the way; now to attend to the encroaching deadline with Bob McLeod and Rough Stuff magazine!)

My daughter Maia and I also be hard at work on a four-page story, "Isola," though that'll be submitted to Accent UK for a future collection or title. Maia is scripting the original story, which unlike Dan's and my collaboration isn't funny: it's a sorrowful portrait of life after the walking dead apocalypse. The premise is Maia's own concept, revamped after a couple of face-to-face plotting sessions, and Maia has started the scripting, which is going well. It'll be interesting to see how we work out the visual collaboration, as our approaches to our art are quite strikingly different; Maia has evolved a couple of drawing styles distinctively her own. It should result in a compelling piece, and may evolve into a more expansive effort in time once this four-pager is done. "Isola" won't be in Zombies, but it was conceived as a result of that invitation to contribute -- in any case, we'll keep you posted via this blog once there's something to show for our collaborative effort.

In the meantime, I'll keep you posted here on progress on Accent UK's Zombies anthology, and post links for purchasing once it's available in the spring.

_______________

TMNT: Soul's Winter

Finally, on this fine Monday morn, I must note the pending graphic novel release of my good friend Michael Zulli's memorable Teenage Mutant Ninja Turtles trilogy. It's all under the title Teenage Mutant Ninja Turtles: Soul's Winter, and PaneltoPanel.net has just announced a special edition available only from P2P's online venue.

A little personal background, to explain why I'm plugging Michael's book here: Michael and I met at the Holyoke Mall in Holyoke, MA, at a Dave Sim Moondance Comics signing back in the mid-to-late '80s, when he and compadre Steve Murphy were first negotiating with Dave Sim to publish their serialized environmental sf/fantasy epic Puma Blues.

We became close friends in the trenches of the pretty-much-forgotten distributor wars of the late '80s, primarily amid the ensuing hubbub over Diamond Comics and Puma Blues -- in short (tough to do), Diamond wanted to 'punish' Dave Sim over the first Cerebus 500-pg. volume (which Dave had in fact initially offered to Diamond and all distributors, though they'd declined, saying no one would pay $25 for a graphic novel; this is before The Dark Knight Returns hardcover collected, mind you, as it was Dave who broke the then-extant artificial price barrier/ceiling affixed to book-format graphic novels), and decided to do so by refusing to carry Puma Blues, misconstruing Dave as a traditional 'publisher,' which he was not, thus 'punishing' blameless Steve Murphy and Michael Zulli instead. You got that? Good. If not, rest assured it's not you: Diamond's stance made little-to-no sense then, either.

Friends of Michael, Steve, Dave and Puma Blues rallied, and it was in this weird, almost-inexplicable crossfire, that I'm sure makes almost no sense to 98% of you reading this today, that Michael and I really bonded. We in fact collaborated on not one but two stories for the Puma Blues benefit book, with Michael inking my pencils on a (now long-lost, likely never-to-be-reprinted) Alan Moore story featuring mating flying mantas (the flying manta rays were iconic in Puma Blues's invented universe), and my inking Michael's pencils on the opening story. I initially had a tough time inking his exquisite pencils, laboring through page one, shaken by how difficult it was to work with the stroke of Michael's pencils -- until I discovered a simple solution for inking page two: if I turned the page upside-down, my pen and brush stroke matched Michael's pencil strokes perfectly! He was (is) a lefty! So, I inked the rest of the entire story upside-down -- and it came out quite nicely, if I may say so.

But enough on that. The news isn't Puma Blues or this old hash -- the news is Michael's classic TMNT stories are at last collected in book form, complete beneath a stunning new cover by Michael himself.

PaneltoPanel.net is offering a special edition with a tipped-in bookplate, featuring a portrait of Master Splinter, created exclusively and signed by Zulli; the book is scheduled to ship within the next two weeks, and can be pre-ordered here!

And don't dawdle, if you're a Zulli or TMNT fan (or, best of all worlds, both!); the special bookplate edition of Tales of the TMNT: The Collected Books Volume 1 sold out and is no longer in reach, save for pricey online auctions (though the book itself

sans bookplate, is still available here).

However,

copies with the awesome Jim Lawson bookplate for Tales of the TMNT: The Collected Books Volume 2 are still available here, while supply lasts.

Michael's Soul's Winter is a real highlight of the truly mutant years of TMNT, when many guest artists offered their own unique takes on the Turtles. None were more unique than Michael's, who extrapolated an alternate TMNT universe as if Akira Kurosawa had 'directed' the ultimate TMNT film: turtles that looked like and behaved like reptiles, sheltered by a Master Splinter of true rodent origins, facing not only the mystical powers of an implacable foe (Shredder), but a confrontation with death incarnate on another realm of reality.

Rendered in Michael's exquisite fine-line pen, brush and ink (on duo-shade), and anticipating his future work with Neil Gaiman on Sandman and other projects, Soul's Winter is among the loveliest of all the TMNT Mirage experiments, and the most memorable. This is a book well worth owning and revisiting -- more on the book, and Zulli's work, in future posts... but don't wait for my sorry ass,

visit Michael's own eye-popping website right this minute!

Have a great Monday, one and all...

Moving Day, Conclusion

Dave hit the water.

Waning sunlight caught the spray from his plunge. There were colors: blue, green, brown, red.

With the crack of flesh striking water (and what else?), sweat broke on my forehead and lip, I shivered -- and then Dave was gone, out of sight.

___

To make a long story short, Joe Kubert scanned my meager portfolio and the single copy of Abyss and said, “You’re just the kind of student we’re looking for. Can you start this fall?”

Thus, moving day approached, and I rushed to it.

Now, the leap from Vermont to Dover, NJ was a big move indeed. Culturally, I knew I was in for some seismic shocks, but I had no idea how many, or how primal those could be.

For instance, I had lived all my life looking people in the eyes. In my native state, it’s a human thing, not a confrontational stance: the eyes are the person, more often than not, the means of initial contact. But as my first couple of trips to Manhattan had taught me, looking other people in the eyes as we did at home was either an affront or an invitation in the Big Apple -- eyes darted away, afraid, or locked with your own, suddenly hungry. There seemed no median between those reactions, and both startled me. In NYC, making eye contact was a threat to some -- during my first-ever trip to NYC in ‘74, the look of naked fear that distorted one Manhattan woman’s face walking past me after I’d made eye contact really jolted me to the core. It was an open door to others -- primarily, circa the late ‘70s, crazies, Moonies, or religious fanatics (both of the latter were particularly thick in urban areas at that time). Having already skirted Moonies more than once in Port Authority, I had no desire to offer those kinds of inadvertent invitations. But it was part and parcel of my upbringing, who I was, who I am... and I was heartbroken, during my first walk in downtown Dover, to see the same unspoken “eye contact rules of conduct” applied in NJ. Joe Kubert and his family were atypical of Dover’s population when it came to casual eye contact -- sigh.

But moving day is inevitably a physical exercise, a displacement and reorientation of home, heart, and, uh, one’s shit.

First, let’s talk about moving one’s shit. Specifically, in this case, my shit.

As I mentioned, my parents had sold our Colbyville home and store on Route 100, and when I moved to NJ, they were moving to North Port, Florida (my sister Kathie was going with them, too, though her own stint in the military overlapped this period -- ah, this is my story, not Kathie’s, so suffice to say we were all leaving Colbyville and Vermont).

During my two years at JSC, I had compacted most of my belongings into the tiny dorm room I shared with not one but two roommates my freshman year. My sketchbooks, comics & comix and records were essentials, of course, and had come with me. But beyond that, I had been free to leave the rest of my life in my bedroom in Colbyville: my books, a huge library of movie-related tomes and clip files, my art, furniture, drawing table, odds and ends. That was no longer an option. There would be nowhere to stash my stuff any longer -- all that could come with me would be all that would fit in a tiny Carriage House room (the Baker Mansion Carriage House was, at that time, the only ‘dorm space’ available at the Kubert School) which would be shared with someone else.

Since leaving home to attend JSC, I had prided myself on traveling with no more than I could carry in one ragged old Scout backpack, keeping my clothes and necessities to a minimum (this was a practice I maintained for years, until I married and we had children). With the imminent move to Dover, NJ and my new life as a budding cartoonist, I now worked to strip my worldly goods to the bare minimum. This occupied much of the remaining summer of ‘76, and resulted in some pretty bizarre scenes.

See, I had a lot of shit. For one thing, I had enough books on film to donate to not one, but three libraries, including UVM and JSC... and still had to leave some behind in four boxes on the floor of my JSC summer dorm, hoping someone who gave a shit would find them. Ditto my one-drawer file cabinet full of newspaper and Variety clippings on horror and exploitation films of the era, which I’ve no doubt ended up in the Johnson land fill. I sold as many of my LPs as I could to friends and JSC students that summer, breaking up my massive jazz and soundtrack record collection. On my last day at JSC, I still ended up hauling the last of it -- five boxes! -- to a sweaty fat man somewhere in the Northeast Kingdom who gave me five dollars for the lot, take it or leave it. There went my original releases by Charlie Parker, Miles Davis, Danny Zeitlin, Cannonball Adderly, Jerry Goldsmith, and much, much more. It sucked, but there were no options. Only those few I couldn’t live without (though of course, I could) went with me to my new life and much tighter accommodations at the Kubert School.

One of the comedic low points came when a group of my Johnson cronies and I made a run to Montreal and bought as much Maximus Super as we could afford -- and get across the border with -- and brought ‘em back to our room in Governors Hall to savor an afternoon of drinking and schmoozing. At that time, Maximus had a much higher alcohol content than any beer sold in the US, so this was a treat, even for a relative non-drinker like myself.

Now, I knew my parents were planning a family ‘moving day’ auction at the Colbyville house. What I didn’t know was that Dad had chosen that very day for the setup of the tent for the auction: a huge, circus-sized tent, with a central pole, pitched in our driveway. Without prior arrangement or announcement, Dad showed up at JSC and marched into Governors to collect his son, who was by that time fairly tanked on Maximus. To the high hilarity of my drinking buddies, I trundled off with Pop for the 45 minute drive to Colbyville to take my place in the tent assembly. I was in no shape to hold an outsized elongated center pole steady, but there I was, teetering like a stewed sailor and weathering whatever cussing was flung my way as I held onto that pole for dear life, fighting gravity and vertigo until the job was done.

The auction was one signpost of the move; my farewell to JSC was another.

To be honest, I don’t recall the final hour at my family home in Colbyville, but I do remember my farewell to Johnson, my first home-away-from-home. I took a last lingering look at my Governors room -- coincidentally, the same room Joe Mangelynx and I met in my first day at JSC in ‘74, the room we shared with a third roommate that first semester away from home -- sighed at the orphaned boxes of books and that damned one-drawer file, and walked away from JSC for good.
______

Once I was at the Kubert School, I found myself in a new community that felt more like home than any I can remember since childhood. For the first time in my life, I was among people who were into everything -- and I do mean everything -- I was into. We lived, breathed, ate, shit, slept, talked and drew comics from our first day onward.

I’d left home -- two homes -- to find home. What’s the old saying? “We are born into the families we grow up with; we make the families we choose to be part of.” I had made many fast and lasting friends at Johnson, by happenstance of being tossed together in the half-basement of Governors Hall (the ‘subfloor,’ hence our adopted moniker ‘The Subhumans’), and by the gravitational pull of shared interests and at-first-undefinable emotional ties.

But those of us who came together at the Kubert School, Year One were there because of communal interests. We were a pioneer brood, the first Kubies, and it was all a new adventure, unlike any anyone had ever had before: for Joe and Muriel, for our instructors, for every one of us. Rick Veitch often tells me this time of year how a special feeling washes over him -- how seminal that September of ‘76 was for all of us -- and I reply, “ya, I know what you mean.” Whether the experience proved good, bad, or ugly, we were all exploring something fresh, new and experimental. I was lucky to be part of it, and am forever thankful for everyone and everything that brought me there at that unique time.

There’s some debts you never repay (I’ll save that long list for my bio page). But I owe something special to Dave Booz.

I don’t know if I would have made the leap of faith I did into the Kubert School and the unknown of a future as a cartoonist without Dave’s leap from the ledge as a touchstone in my life.

Both were potentially dumb moves -- either could have resulted in disaster. I saw classmates crash & burn at Kubert School, just as I had at JSC, and any one of ‘em could have been me (unlike Dave, I, at least, had a safety net, a place to go other than down, should the worse happen). But in my case, it turned out to be the right move at the right time.
_________

In a heartbeat, it was over.

Dave broke the surface of the water on the rebound, tossing water and hair out of his face. He spat and spouted and then turned and grinned like a rock star up at Mangelynx and I.

“Hey, what’re you pussies waiting for?”

The red I had glimpsed was the rust-red of the round-edged rocks at the base of the pool Dave had kicked up. He was fine; the pool was shallow -- about four and a half feet deep -- but deep enough to jump into, even from 20 feet above. As long as you kept your legs tucked and ready to spring off the rocky bottom, it was easy pie.

With great relief, Joe and I made the jump, one at a time. Dave didn’t just stay clear; without hesitation, he began negotiating the crawl down over the ledges from that pool to the larger swimming area below. We scrabbled over the rocks like crabs, grinning and laughing and stoned with the whole experience. Thanks to Dave, we were soon drying off and heading back to the dorms within the hour.

Sometimes, somebody just has to make the leap.

You screw up your courage, you give up the only footing you know --

-- and you jump.
____

(To Dan, to Maia, and to everyone at CCS, Year One.)

Moving day: Part One

All right, enough of my political rants. You can read that everywhere, anywhere on the web, from much better informed folks than me. Here's something you can only read here:

My 19-year-old son Dan is moving out of the house this week into his first apartment. It's a big step, a big change, and one I can empathize with, for reasons we all understand.

That, coupled with the fact that I begin my faculty work with the first-class-ever at the Center for Cartoon Studies in White River Junction, VT in about a week-and-a-half, is bringing back rich memories of this very week in my life 29 years ago. As a break
from my ranting about the grim realities of this week, I'll share some of those memories with you now.
__

During my second year at Johnson State College, a bunch of us went swimming at a spot we'd been told about, far from the campus. My friends Dave Booz and Joe Mangelynx and me wandered away from our amigos to explore the ledges above the main swimming hole. It was a gorgeous afternoon, sunny and hot, and we decided there might be some interesting spots in the waterfall-riddled ledges above the main swimming hole. So, wearing only our cutoffs and dripping wet, we found a pathway up around to the topmost set of falls, and went exploring.

We ended up stepping our way down a series of smaller pools formed by a progression of waterfalls. At one point, the only way down to the next set of falls and uppermost pool was a rotting rope tied to a narrow but sturdy tree leading down to a wide overhanging ledge. Below the ledge was a crystal-clear pool, the sunlight shimmering off its surface.

Booz, being the ballsiest in such matters, didn't think twice: he shimmied down the rope, stepped out onto the ledge, and shouted up to us, "so, what are you waiting for?"

I made the climb down second, and then Joe did the same. Joe was (and most likely still is) a strapping fellow, built like a football player, and damned if that rope didn't break when he was about to set foot on the ledge.

So, there we were: on the ledge. The rope was gone, we couldn't go back up.

The pool was below, but there was a big problem: we couldn't tell how deep it was. The sun was shining directly down into it, and we could see every one of the perfect, round stones covering its floor with incredible clarity. We could damn near count those rocks on the bottom -- that’s how crystal-clear it was.

That pool could have been six inches deep, it could have been six feet deep: we simply could not tell.

I don't recollect how long Joe and Dave and I sat up on the ledge. We perched there a loooooong time, it seemed, until our friends were shouting up from below, asking where we were. A few shouts back and forth established we were OK and would be down soon, and all the while Dave hunkered down at the edge of the ledge, staring down into that pool. We all pondered that pool until we rationalized every possible scenario: the only option was to jump, which seemed like no option at all the longer we stared at that pool.

As the afternoon wore on and the sun moved and dropped the shadow of the ledge over us, we began to shiver: it was getting cold standing on the rock, and even with the shift in light, we couldn't tell about that pool.

Was it so shallow that we'd shatter our legs hitting those stones?

If we tried to land on our seats, was it so shallow we’d smash our hips?

Was it deep enough to cushion the sizable drop into those waters?

We just...
couldn't...
tell.

It was getting later and colder.

It was Dave who finally laughed, "Well, fuck it." He gave us a grin, and made the leap.
___

I was 21 years old and moving from Johnson State College to Dover, NJ. It was a momentous move in my life -- a definitive turning point, the most radical I'd ever dared. I was diving off a ledge into a body of water I couldn't make out below or beyond; I didn't know if I was diving into a pool six inches deep or an ocean. But this was the week I made the dive, and I've never regretted it.

I'd been a student at JSC for two years, ostensibly arriving two years earlier to study art, but instead pouring most of my energies into the theater department (thanks to Richard Emerson, who was the dept. head at that time and my advisor) and running the film program at JSC. My plans to study art were immediately derailed upon my arrival due to the small size of the college and the fact that seniors, logically enough, had first pick of classes; by the
time lowly freshman Bissette got to sign up for his classes, there were only two miserly art classes open to me, so theater is was.

As it turned out, this was for the best: Emerson was a fantastic fellow and great teacher, and I worked my ass off in his technical theater studies, particularly loving the study and application of theater lighting. The McCandless Theory of lighting the stage, it turned out, was central to the color work of two of my all-time favorite artists: the cinematic Italian horror and fantasy maestro Mario Bava, and Kansas City cartoonist extraordinaire Richard Corben. Whether Bava or Corben knew of McCandless, I had and have no idea, but McCandless's theories of light, color, its meaning and techniques beautifully articulated the visual universes of Bava, Corben, and all of theater. So, my JSC theater studies ended up feeding my art in ways I wouldn't have imagined possible. By my second year at JSC, I had talked Emerson into indulging a year-long independent study of Bava's films, and talked the rather imperious head of the art department, (the late) Peter Heller, into indulging three independent studies on comics: (1) to produce three comics publications and publish them, (2) to steep myself in a full semester of anatomical studies, and (3) to write a paper on "The Comic Epic," which was a radical thing at the time.

An aside: How did that go? Well, as for (1), only one published comic was completed, Abyss #1, that ended up being my key portfolio piece when I applied to the Kubert School; as Peter Heller said when grading time came, "This is remarkable -- I never thought you'd finish even one, much less publish it. Forget about three, I knew you were overreaching. You finished one. So, good for you." I completed (2), but Peter was so depressed by the comics I chose to analyze that he dismissed that project altogether, simply acknowledging it as "completed" and moving on. This was before the term 'graphic novel' even existed, and Peter had refused to permit adapted works (like Joe Kubert's Tarzan into the blend; thus, the works I studied in that pre-graphic novel era were Enemy Ace, Kamandi (alas, New Gods had been canceled before completion, so it had been rejected by Peter as being irrelevant), Kona: Monarch of Monster Isle, and Jack Katz's just-out-of-the-starting-gate The First Kingdom. Peter couldn't stomach looking at any of them -- Charles Schultz and Pat Oliphant were the only contemporary cartoonists he had any respect for -- so that was that. As for (3), I indeed completed initial anatomical studies to Peter's satisfaction, drawing every bone in the human body from three-to-four different views (working from the science lab skeleton and a brace of anatomy books), and four different views of the full skeleton. "Good, good," Peter muttered while gritting his cigarette holder between his teeth, "now, we get you to UVM to draw from cadavers. You must learn to draw the entirety of the human body. You've got the stomach for that, yes?" Well, no -- my one session drawing from a cadaver was a bust, not due to squeamishness, but because I couldn't take my eyes off the dead man's face, wondering who he was, had been, and how his body ended up where it was. End of aside.

The decision to even apply to the Kubert School had been a major leap of faith. Peter told me from our first discussion, "Listen, little man, you're going to be competing with New York City art students to get in there, the best of the best. Look at your chin: I can see the weakness in you there, in your face. You won't be able to hack it. You need to stay put here. There's nothing for you there."

I spent that final blissful summer in Johnson, prolonging my JSC stay by tutoring at the College's summer learning program. The campus was and remains an insular, lovely spot, and it was a great way to see out my stay at JSC. That was a maturing process: I was tutoring high school students who still didn't know how to read or write, which astounded me at first. I worked in particular with two students, one a tow-headed young man who was frustrated with anything that forced him to work indoors, the other a brunette young woman with intense green eyes who grew up on a horse farm and didn't see why reading was so important, though her frustration and the toll it took on her sense of self-worth was readily apparent at the close of our first session. She was hungry to make connections, doing so often by diverting our studies: knowing I loved horror films, she regaled me with her account of a film she'd seen that spring at the drive-in, Don't Open the Window, which had made a big impression on her. I assigned her to write a synopsis of the film, and write a new ending; it was the only writing assignment she'd completed with any passion. I was accepted as a peer by the other tutors, most of whom were older than me, either seniors at Johnson or graduate students, while I was a lowly college sophomore bolting from what would have been my junior year to pursue a new adventure: entering the first-class-ever of a wholly new college in Dover, NJ, The Joe Kubert School of Cartoon and Graphic Art, Inc.

To everyone but my closest friends at JSC (including the three who had talked me into going to the Kubert School: Jack Venoooker, Mark 'Sparky' Whitcomb, and Steve Perry), this was a crazy endeavor. In 1976, the thought of anyone, much less a hick from Duxbury and Waterbury, making a career in comics was a reckless, delusional undertaking -- I mean, comics weren't a profession, they were a hobby (to quote my old buddy James Harvey, "Art it just a hobby"). To be pursuing it at a brand-new college that wasn't even accredited, could not offer or accept grants or scholarship, and was furthermore based in (groan) New Jersey, seemed crazier still. Only Peter Heller took it seriously, but did so only to test my mettle; when I applied even after Peter stared me down and cut me down verbally, he called me into his office with an arrogant wave of the hand, pointed to the empty chair next to him, and bellowed, "You did it anyway, didn't you?" I nodded yes, and he smiled and said, "Good for you." And that was that.

My parents (who, thankfully, are still with us) were making the big move to Florida from our home in Colbyville, VT. My Dad had worked hard to convince me to stay put, to take over the family store and make Colbyville my home. I think he thought I'd settle down with Jill Chase, my high school sweetheart who lived up on Blush Hill (Jill would marry and remarry, live in Japan, and raise a daughter). I had no interest in such plans, much less staying in Colbyville.

More on that in a moment: first, I have to impress upon you the precipitous drop I was about to make from that cliff-ledge into I-didn't-know-what was made all the more perilous by the fact my parents had sold the store and home and were pulling up stakes to move to North Port, Florida.

There was, after this week 29 years ago, literally no going back. There would be nowhere to go back to.

So, my saying no to considerable pressure to take over a thriving business -- the store and our home, a living and a house -- was a big fat no, and one at the time that seem completely irrational. Give up all that -- a certain future -- to try and find a means of making ends meet in comics???. It made no sense to my father.

But I had to do it, I had to give it my all. I knew if I didn't, I might regret not taking that plunge every day of my life -- whatever it led to, I knew I had to make the leap.

When my best friend Bill Hunter was found dead in his basement two years before (an apparent suicide), I swore I would make use of the time Bill no longer had and do what I wanted to do with my life. That was making comics -- and the Joe Kubert School sure looked like a lifeline to me! My father had always expressed his disgust with my staying indoors and drawing, and my desire to make comics made no sense to a man who'd served in four branches of the US military, worked as a lineman for the Green Mountain Power Company, and went into business for himself twice: once with the Eagle Oil Company (a heating oil business based in Duxbury), and again with Bissette's Market, of which there were three incarnations. My brother had done the Bissette name proud when he joined the Air Force, but I wanted no part of it, and my need to draw and tell stories simply didn't fit Dad's worldview.

That all changed in a heartbeat: the moment my father and I met Joe Kubert. When Joe shook my Dad's hand -- that steel-crushing Kubert handshake I still love -- my world was forever altered, for the better.

(Continued tomorrow)