Brevoort Talks "Captain America's" Shocking, Controversial Twist
[KRISTY] VALENTI: I think there is a wolf cycle going on right now in indy comics; there was that werewolf anthology they put out at CCS.
[TOM] NEELY: I haven’t seen it.
VALENTI: I don’t know if it was the whole vampire-werewolf-zombie cycle or —
NEELY: I have no idea. I have specifically avoided reading most comics while working on The Wolf. Except for a few exceptions from friends, but I didn’t want to be influenced by anything contemporary or any external ideas. But I was very conscious of Twilight and all that stuff happening around me. And my mom was always like, “Oh, I think your book is gonna do really well, because everybody’s into werewolves and scary stuff.” And I’m like, “Mom …” And she’s like, “You should market this to the Twilight…” And I was like, “I’m not marketing my semi-pornographic book to teenage girls.”
[Valenti laughs.] That will get me arrested [chuckles].
It’s just a coincidence. It wasn’t any specific attempt to tap into that market, I was just off doing my own werewolf thing in my cave. And apparently there’s other stuff going on too — I didn’t even realize Jason did a werewolf story until somebody told me that the other day. So I haven’t really kept up with anybody [chuckles]. That’s what’s nice about finishing it, is now I’m getting to read all these books that I’ve avoided for the last five years. And someone else brought up that there’s a lot more sex in indy comics right now too. And I was unaware of that as well. Maybe there’s just something in the collective unconscious that’s leading us down that path. But it wasn’t any conscious attempt at being a part of that. I’m largely unaware; I guess there is a lot of it.
—Cartoonist and painter Tom Neely on pop culture and alternative comics’ mutual season of the wolf, in conversation with The Comics Journal‘s Kristy Valenti. He’s right — altcomix really are having a bit of a sexy time right now, and horror has gone hand in hand with that, for whatever reason. It’s interesting to think that even some of the artists responsible for this don’t realize it until they emerge from the trees enough to get a good look at the forest.
Valenti’s life- and career-spanning interview with Neely is a must-read, and not just because of insights like these into Neely’s wordless psycho-sexual-surreal-semiautobiographical graphic novel The Wolf, one of the year’s best comics. It paints a compelling portrait of how a restless and idiosyncratic artist can maintain a balance between pursuing his vision and the need to work with others — peers, publishers, day-job providers — to do so. His revelations about his failure to come to terms with Top Shelf for publishing his breakout book The Blot, the pros and cons of working as an animator for Disney, and his interaction with the alternative-comics scenes in Los Angeles and Portland all make for reading that’s both depressing and instructive. Check it out.