The Gerry half of Markgerry today…

I was sitting at a bar and grill on Michigan Avenue, eating a blue-cheese loaded iceberg wedge and drinking a basil-infused gimlet, taking notes in my little Moleskine notebook while the guide to the Chicago Art Institute that I’d been using as a bookmark lay on the table next to it. In small-talking the waiter I said I was from San Francisco and I’d come to Chicago because my son was attending G-Fest, a convention for Godzilla fans. We shared a smile: oh, those crazy kids, ha ha ha. Overall, I was doing a very good impersonation of an adult.

But ten days later I was at the San Diego Comic Con, and I wasn’t with my son. True, I had a graphic novel to promote, Networked, one that sprang from a web comic commissioned by a nonprofit advocacy group. I could try to pretend that that’s the only reason I was at Comic Con, but that wouldn’t explain the twenty-six straight years I’d been there before this one.

I get why my son loves Godzilla. And it’s not just that he’s huge and destructive and free of the constrictions of society and all those other virtues I wrote about in a book called Killing Monsters. It’s also the simple fact that he’s junk.

He’s chuckled at by the rest of the world, and Nicky is part of a select group who understand that there’s something valuable in that junk, who can tell you why the guy who directed Mothra is better than the guy who directed Godzilla vs. the Smog Monster and why YMSF makes more accurate vinyl monster toys (or “figures,” if you will) than Bandai and how the composer of the best Godzilla soundtracks consciously combined Western symphonic music with Japanese folk ballads and why the American Godzilla movie really sucks.

I was that way with comics before they had a cachet, when comic cons drew only a few thousand obsessive guys and a few dozen embarrassed girlfriends. I liked discovering artistry in a medium completely dismissed by the world at large. I liked being able to take one look at a comic book page and recognize the artist, and somehow it meant more that hardly anyone beyond the confines of that convention center would even know his name.

It wasn’t just about finding a community and setting myself apart, either, although those were both part of it. It was also about coming to rescue of the junk. It was about saving great junk from the garbage and telling those obscure artists and writers that someone noticed. And it was about discovering gems that lay right under the noses of the mavens of culture but that they could never recognize.

Even as writing graphic novels has developed a weird sort of prestige, even as I find myself writing stories with serious intents, I never want to lose touch with the passion for junk culture that helped me fall in love with this medium in the first place. I want the freedom and whimsicality and creative latitude that junk does best flowing through everything I write. I want to see Networked in the quarter box on the floor. Okay, not literally. But I want to see it in the quarter box of my soul.

—Gerard Jones

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About the Author

In comics, Gerard Jones has written Batman, Green Lantern, Wonder Man, and other series for DC and Marvel Comics, as well as co- creating and writing Oktane, The Trouble with Girls, Prime and more for other publishers. He and Mark Badger created The Haunted Man for Dark Horse and produced Batman: Jazz for DC. Jones is also the author of several nonfiction books, including Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic Book, Killing Monsters, The Comic Book Heroes, and Honey I’m Home. His next book, The Undressing of America, is forthcoming from Farrar, Straus & Giroux, and his screenplay adaptation of Men of Tomorrow is currently in development. He is a member of the San Francisco Writers Grotto. Mark Badger has drawn funny books for Marvel and DC Comics with people other than Gerard Jones. He has also done mini-comics for the El Salvadoran labor movement, a comic on pesticide use for farmworkers, and stories of Nonviolent Communication in NYC. He still believes in “the never-ending struggle for truth, justice and the American way”. One of the first artists to adopt the computer as a tool, Carabella was drawn in Adobe’s Flash on a Wacom Cintiq. He teaches at the Academy of Art University in San Francisco and draws and programs in Oakland, CA.

2 Comments on ""

  1. It was good to meet you there Gerry.


  2. It was good to meet you there Gerry. Or is this Mark?


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