The artist discusses his influences, his Platonic ideal of comics, and the end of the world.
Right: “A-bombing of New York City,” 1948.,” published in 1955. It is supposed to be a representation of the Earth as it’s forming, the continents coming together from a sea of lava, but I found it terrifying—it looked like the end of the world to me. I studied it my entire childhood, looking at it over and over. It seems to compile every possible thing that could be happening at the beginning of the world into one intense, melodramatic image.
” done by Jack Davis for one of Harvey Kurtzman’s EC war comics, one with beautiful inking and lighting. It’s one of those images which really hit me as a kid. It shows the instant before the soldier is killed—an intensely dramatic way to tell the story. But, instead of looking at it, I decided to mentally reference the way I remembered it. After I was done, I went and checked, and I was . . . Oh, man.
There was an era when you could buy every kind of genre comic you wanted—crime, horror, history, war, romance, and so on. There were superhero comics, but they were a maligned genre, aimed at little kids. I wanted my story to begin in a world where all these genres of comics coexist, but which turns into a mush of genres by the end. You have to figure out what genre you’re in..
Joe Orlando is not an artist I particularly admire. He was a good artist, but he didn’t have that lifelong passion for cartooning. I think that he became an editor at a certain point and gave up on drawing. But I wanted to make a nod to his story and reference its sense of paranoia. Al Feldstein wrote it and Orlando drew it in 1953, when paranoia was certainly in the air. You might have felt that way about entering a small town.
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