KIDWELL & VIGIL ON FRANK FRAZETTA'S DARK KINGDOM

[MattBrady]

As we’ve reported, April will see another of Frank Frazetta’s paintings come to life in comic book form as Mark Kidwell and Tim Vigil team on Frank Frazetta’s Dark Kingdom.

Like the acclaimed Death Dealer miniseries spearheaded by Jay Fotos, Dark Kingdom takes an original painting by Frazetta as inspiration, and tells the “story behind the canvas” so to speak.

We caught up with both Kidwell and Vigil to talk about their work on the project.

Newsarama: Mark, obviously, we should start with the...er, obvious. How did you get involved with the book in the first place?

Mark Kidwell: Let’s call it “Accidentally-On Purpose”. Nat, Jay and I had worked together on ’68 and Jay and I have worked together on several projects now, so we all keep in touch. The Death Dealer first issue had launched and was exploding, so Jay contacted me to ask if I’d be interested in writing a one-shot based on one of Frazetta’s paintings. When I finished babbling “Yes, please” and “Thanks”, he told me to pick one of Frank’s horror pieces since I’m the “Horror Guy”. I spent a couple of hours staring at dozens of masterpiece paintings and while the horror stuff is amazing, I just kept coming back to “Dark Kingdom”, a fantasy image. It’s always been my favorite Frazetta piece other than the Conan covers and this character (and his story) just kept building in my mind. Finally, I just said what the hell and wrote a full breakdown script with full dialogue. I sent it to Jay, he sent me a reply saying simply “You’re nuts.” From there, the script got approved by all involved, went through a few changes and voila, Dark Kingdom.

I am now officially “Horror-Fantasy Guy”.

NRAMA: Can you walk us through the process that carried you from inspiration to story? Was the larger idea handed to you, or did you play a role in coming up with the story based on the image?

MK: Hmmm…inspiration started years ago, when I first encountered Frazetta’s work on paperback and album covers. As far as “Dark Kingdom” specifically, I had questions after seeing that image thousands of times. Stuff like, “What in the world could be inside that cave to instill such a look of absolute dread on the face of that bad-ass Viking guy?” and “If whatever’s in there is so horrible, what could ever motivate you to go inside?” Once I answered those questions to my satisfaction, the story rolled.

As far as anything being handed to me…nope, all outta my twisted mind. (I kinda wrote this thing without direct permission) To give cred where it’s due, there is a facet of the Red Morden character that came directly from Jay Fotos. He felt we needed more of a human connection with him and his idea was a great one, so I incorporated it in and it’s become one of the shining aspects of the story. (Can’t tellya specifically, it’s a spoiler) Also, thanks to Josh Ortega for filling me in on the geography of the DD world and Nat Jones for calming some of my D&D dialog (Heh).

NRAMA: So take us inside your head a little - when you look at that original Frazetta image, what do you see?

MK: I see a man following an unavoidable destiny. Whatever’s driving that warrior in the painting has taken the place of any form of concern for life or survival. He’s heading into an “All or Nothing” confrontation, leaving the light for reptilian darkness, preparing to stare doom right in the eye.

NRAMA: For those unfamiliar with Frazetta lore, was Red Morden already named before this? Did he have any history, previous to this story that you know of?

MK: No, as far as I knew, the character in the painting was just a hardcore Viking dude. I wracked my brain for just the right name, something to match the intensity of Frank’s image. Once it popped into my head, it just worked. You know, those little moments of epiphany, when you grin and think…Yeeeeahhh…Morden. You’ll have to thank Mr. Frazetta for the “Red” part. Y’know, with the beard and all…

As far as Morden’s history before the story in the book, you’ll get glimpses into his past and even some quick teases alluding to some epic adventures to be detailed in the future. The initial story takes place in the middle of Morden’s life, so there are plenty of grand sword and sorcery tales still to be told.

NRAMA: So tease a little here – Red’s the protagonist, but what can you say about the story?

MK: Right - Red Morden himself is the main protagonist of this first story, sailing the Northern seas, cutting a bloody swath through the shipping lanes with axe and fire alongside his fellow raiders. His wife Brynna, back home in their hidden village, is something of a mystic and begins to see monstrous visions and a dark fate for she and the rest of the clan. Using her limited psychic powers, she steers her savage husband towards home. What he finds there and what he will do to calm his own raging soul will lead him into the shadows of the Dark Kingdom.

It’s a bit of a karmic tale, showing the dire price one may be forced to pay for a life of violence and combat. If forced to pay such a price, what would a man do to balance the scales?

NRAMA: Let’s talk about the art side of things - were you or Tim on board first?

MK: I think the whole thing started with my “Surprise!” script. I’m pretty sure Nat and Jay were talking with Tim about illustrating one of the Frazetta books, but as of that time, it wasn’t specifically Dark Kingdom. As far as my reaction to Tim drawing the book, I couldn’t be happier. I’ve been a fan of Tim’s work since I first laid eyes on it back in high school and he’s always been in my top 5 comic artists. It’s high time his amazing art is showcased in a high profile book and I count myself lucky to be involved.

NRAMA: In your opinion, why do these paintings evoke such a strong response from fans, both new and old?

MK: I’ve been asked that a lot since getting involved with Frazetta comics and I’ve gotta say, I think it’s the consistent sense of power and energy that these images evoke. They look like snapshots taken right in the middle of some cosmic battle or some clash of manic forces. They’re little glimpses into impossible worlds where everything is so raw, primordial and real, you expect it to leap off the canvas or printed page and pull you in. All that frozen action pulls you in and makes you want (and need) to know what happens next.

NRAMA: The solicitation information refers to this one-shot as “book one.” How many installments are planned for Red Morden?

MK: There are definitely big plans for Red Morden in the future. In fact, as of a discussion with Jay last week, one could say there are huge plans. This first book, though technically a one-shot, is planned to lead into a series. It all depends on reader response. We’ve all got a ton of stories to tell, some of which are already plotted, so if the fans want more, we’re ready and willing. As far as my involvement, I’ll keep coming back until they kick me out. Then I’ll sneak back in and make ‘em kick me out again.

And now, over to Dark Kingdom artist Tim Vigil…

Newsarama: Tim, seeing your name connected to Dark Kingdom was...refreshing in many ways. You haven't been seen for a while on a higher-profile project like this. What have you been up to, and how did you end up here?

Tim Vigil: I have been doing odd ball stuff and my own book Faust still. Two issues left. All in the independent market that doesn't get any attention because most news media are in the pocket of major companies. Also been working on paintings...I do conventions to try to keep my name out in the public.

NRAMA: Given that you were going to be basing your work off of a Frazetta painting, did you need much convincing when you were asked about this project?

TV: Dark Kingdom is the type of project that's impossible to pass up. How do you say no to working with the master of modern illustration? It's incredibly inspiring, and I couldn't be happier. I'm doing my best to uphold the quality started by Death Dealer miniseries.

NRAMA: Obviously, you've got the initial design of Red from the painting, but from there, how do you design a "world" that Red would fit into? Did you use other Frazetta works in your designing, as inspiration?

TV: Well, Mark gave a lot of the description to me in his script. I just did some research into Viking ships and communities. I looked through Frazetta's paintings to see his feel of atmosphere.

NRAMA: For a couple of generations of artists now, asking to follow Frazetta's work, or to base your work off of a Frazetta is probably something akin to hearing, "Hey, this Michelangelo guy just painted a nice ceiling - can you paint the sequel?" Was there that kind of intimidation for you, or did it not bother you all that much?

TV: Frazetta's work was heavily influential on what I wanted to do as an illustrator and has kept with me to this day. He imbedded the love of sword and sorcery in me .We are all individuals and each have a style. But he does intimidate me and I guess always will. I have high respect to his art.

NRAMA: Did working on Red and a Frazetta "world" give you a new appreciation or insights on Frazetta as an artist?

TV: It is always fun to try and figure out what an artist was thinking as he did a picture. Trying to study each line, each stroke of paint is what an artist does. I will never get tired of Frazetta's art, even his bad stuff is fun to study. Makes him human.

NRAMA: What was the working relationship between you and Mark like? Did he throw anything at you where you had to pull him aside and adjust, or were things copasetic, start to finish?

TV: I was shown a script already done and was asked to comment on it. I said what I thought was good and what needed to be trimmed. After that it was up to Mark and Jay to even take any suggestion seriously. Jay and Mark are open to discussion which made be feel welcome...

NRAMA: It's no secret that Death Dealer is seeing a solid response from the market, and the buzz on Dark Kingdom seems very promising. Pontificate here a little - why do you think these paintings, years later, still can evoke such a reaction not only from fans, but newcomers as well?

TV: With all the crap that comics are today it is nice to know a true artist is still recognized and not kicked to the corner because he doesn't fit the modern standard. Gives one hope that maybe some of these editors will get their head out of their ass.

NRAMA: The solicitation notes that this is "Book One.” Are you coming back for the future chapters?

TV: Don't know yet – you’d have to talk to Jay...

[Reaper]

I love this artwork by Tim Vigil - he's perfectly suited for this project. I'll be pre-ordering this.

-Tim

[Lartdog]

Beautiful artwork I will be getting this for sure. Part of me wishes this was black and white because I think Vigils artwork is even more beautiful that way.
I wish Vigil would be put on some more high profile work. His quality of work deserves it!
Can't wait for this though.

[batlash]

I am really looking forward to this book. We really, really need to see more of Tim Vigil's work. That being said, I want to get on my soapbox for a minute a remind anyone reading that the character in the original Frazetta painting is not some generic barbarian, but Kane, the barbarian/swordsman/sorcerer created by the late Karl Edward Wagner. Most of us pretty much recognize Conan in a Frazetta painting because they're labeled as such and often reprinted in association with the character. But many contemporary readers don't know the guy in this painting, even though he's as specific as Conan.

Frazetta painted Kane five times for the covers of Karl's books and in four of the five the character is clearly identifiable as Kane. The present painting was done for the novel, Dark Crusade. I point this out simply because, as much as I look forward the the Dark Kingdom book on its own merits, if you want to know the story of the guy in the painting, it's already been told, and it's a hell of a tale. Read Dark Crusade, Death Angel's Shadow, Bloodstone, Darkness Weaves, and Night Winds. Sadly, they're mostly (if not completely) out of print, but most of them can be found for reasonable prices. Karl was a great stylist and storyteller who took the sword and sorcery genre and crafted something uniquely his own from it. Enjoy Dark Kingdom. Then, find and enjoy Dark Crusade.

[bkbirge]

Added to pull list.

[-Armando523-]

awesomeness

[jayfotos]

Originally Posted by Lartdog

Beautiful artwork I will be getting this for sure. Part of me wishes this was black and white because I think Vigils artwork is even more beautiful that way.
I wish Vigil would be put on some more high profile work. His quality of work deserves it!
Can't wait for this though.

I agree, I'm a big fan of Tim just in B&W and if all goes well we plan to do a B&W version, same as the DD#1 B&W Special Edition we did, stay tuned.

[jayfotos]

Originally Posted by batlash

I am really looking forward to this book. We really, really need to see more of Tim Vigil's work. That being said, I want to get on my soapbox for a minute a remind anyone reading that the character in the original Frazetta painting is not some generic barbarian, but Kane, the barbarian/swordsman/sorcerer created by the late Karl Edward Wagner. Most of us pretty much recognize Conan in a Frazetta painting because they're labeled as such and often reprinted in association with the character. But many contemporary readers don't know the guy in this painting, even though he's as specific as Conan.

Frazetta painted Kane five times for the covers of Karl's books and in four of the five the character is clearly identifiable as Kane. The present painting was done for the novel, Dark Crusade. I point this out simply because, as much as I look forward the the Dark Kingdom book on its own merits, if you want to know the story of the guy in the painting, it's already been told, and it's a hell of a tale. Read Dark Crusade, Death Angel's Shadow, Bloodstone, Darkness Weaves, and Night Winds. Sadly, they're mostly (if not completely) out of print, but most of them can be found for reasonable prices. Karl was a great stylist and storyteller who took the sword and sorcery genre and crafted something uniquely his own from it. Enjoy Dark Kingdom. Then, find and enjoy Dark Crusade.

By all means we are not shunning Karl's work and we endorse it. We are not asking for a comparison either, it's just a fresh take based on Frazetta's painting that's all, nothing more. Fact is, Frazetta owns all rights to his paintings and can do what what he likes with them, you'll see the Dark Kingdom image on posters, album art, calendars, statues etc...ours is just another medium.

Thanks and I hope you enjoy it.

Jay

[Sean Patty]

I have pre-ordered this comic this morning from the new Previews magazine and am very eager to see this work. Based on the preliminary Vigil artwork and Fotos coloring I would say that this project looks far more forceful than the Image Comics recent Death Dealer series I bought, which hit and missed on many levels. The 1990's Frazetta approved Death Dealer series from Glenn Danzig's Verotik imprint was a more potent and adult vision.

I am surprised that Kidwell is unaware that the Dark Kingdom painting was originally concieved of for Karl Edward Wagner's KANE novels. Frazetta is on record as preferring the Kane vision to REH's Conan and Wagner's publisher spent lavishly to secure Frazetta's contributions to the books.

It is refreshing to see Image Comics bringing some fresh fantasy work to market instead of their usual slate of stale and poorly written and drawn offerings... from Spawn to Savage Dragon to Skud, these books are sheer garbage. Tim Vigil is an artist I have been aware of for years but have rarely seen his work in Direct Market shops, which are unfortunately all too focused on juvenile superhero material. His candid observations concerning the indy market and mainstream comics press are interesting. I agree that the mainstream comics market has been generally compromised and diluted by corporate influence and unimaginative editorial and creative shepherdship.

I share Vigil's appreciation for Frazetta's primal vision and we artists continue to draw inspiration from these timeless paintings. Vigil seems to have a deep feeling for the Frazetta universe and one wonders if Larson might have been wise to hire HIM to write the first book instead of Kidwell.

Unfortunately, this book will be confined within the narrow Image Comics paradigm meaning the exclusion of any sophisticated adult content which is a staple of the Frazetta vision. A bold independent publishing platform might be greatly liberating to someone of Vigil's skills and certainly the writing would reflect the freedom to forge ahead fearlessly and without censorship and dilution of the Frazetta/Wagner vision and tell the story as it was originally conceived in the 1970's... a story about an immortal and amoral anti-hero struggling within dark worlds.

But that kind of book would not get shelved in the average retailer direct-market supplied comics shop... a little too bold and sophisticated next to tame little Superman, Spidey or Savage Dragon.

Nevertheless, this book is very welcomed as a step in the right direction for "mainstream" fantasy comics, even with all the inherent limitations the market has imposed upon the medium, and my respects to the creators and Image Comics for taking some risks.

Sean

Triumph Without Compromise!

BATTLEGROUNDVICTORY.COM

[samnoir]

I've been following Vigil's Faust since the beginning and it will be interesting to see that saga finally completed. Given the length of time for it's completion, it will be interesting to see how it all reads together.

If feels like Faust has become a bi-annual publication.
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[timvigil]

Thank you for your comments...but you have to keep in mind the frazetta family wants the story to be more assesible to people so there is a awareness of editorial control here.
I had no problem with any of this and actually found it challenging compared to my own adult art.
As much as frazzeta's painting evoke sensuallity and primal screams of violence there really isn't alot of blood and I believe frazetta himself did that on purpose ..even in his own work he was never overly adult..so with that said , we tried to bring that same idea to you the readers and I believe you will enjoy.
As for the comment of me writting the story...oh god...Mark has a fun feel as ( now ) a horror-fatasy writer and deep emotion to his characters...

RED MORDEN LIVES!

[jayfotos]

Hope everyone enjoys the book and really looking forward to "part 2"

[Charlie Hustle]

Originally Posted by Sean Patty

IIt is refreshing to see Image Comics bringing some fresh fantasy work to market instead of their usual slate of stale and poorly written and drawn offerings... from Spawn to Savage Dragon to Skud, these books are sheer garbage.

Interesting, I think that Image easily has put out the best overall books in the last 5 years in the comic industry. I don't think Marvel and DC are even close.

[jayfotos]

Originally Posted by Charlie Hustle

Interesting, I think that Image easily has put out the best overall books in the last 5 years in the comic industry. I don't think Marvel and DC are even close.

Like I stated, it's all personal taste and no use to argue it

[batlash]

Originally Posted by jayfotos

By all means we are not shunning Karl's work and we endorse it. We are not asking for a comparison either, it's just a fresh take based on Frazetta's painting that's all, nothing more. Fact is, Frazetta owns all rights to his paintings and can do what what he likes with them, you'll see the Dark Kingdom image on posters, album art, calendars, statues etc...ours is just another medium.

Thanks and I hope you enjoy it.

Jay

Thanks, Jay.

I didn't mean at all to belittle Dark Kingdom and hope no one took it that way. I'm looking forward to the book. And I am aware that the painting has been used elsewhere (a Molly Hatchet album cover comes to mind). It's just that as I was reading I found myself getting a bit nostalgic for Karl. He was an acquaintance of mind and I loved his work (still do, obviously). Dark Kingdom in no way detracts from Karl's work. I just started thinking that lots of people know the image, but fewer and fewer know where it originated.

I'm looking forward to Dark Kingdom and hope it does very, very well. And I hope to see more from Tim Vigil, either in Dark Kingdom or elsewhere.

[Sean Patty]

It is lamentable that if one with the great talents of Frazetta wishes to deliver his work to a mainstream domestic comics readership via the Direct Market he must do so via the prominent comics publishing houses of Marvel, DC, Image and Darkhorse. Marvel and DC control 70% of the market and while they have, at times in the modern era, ventured into more adult fare via the Vertigo and Max lines and collaborations with foreign publishers, for the most part the unimaginative and timid superhero template informs their offerings. Darkhorse has certainly been home to very interesting creator-owned properties, along with successful licensed works, and has taken greater risks than Image Comics.

The current “creator-friendly” platform for Image Comics publishing is well known and the list of talented creators who have joined Image (--and to later leave ..) is impressive. Keep in mind, though, that the initial founding partners of Image were nurtured and molded in the mainstream corporate-controlled comics environment. When these daring creators broke away to form their own imprint, the template was pretty much the same as the one within which they worked at Marvel, with the exception of better production values on those books. Since then, certainly there have been some experiments such as Valentino’s indy line which failed due to the “unimaginative stewardship” I spoke of earlier, as well as interesting recent forays such as Flight, which Larson published the first 2 volumes before they also left for greener pastures with Ballantine Books in an effort to reach OUTSIDE the narrow confines of the Direct Market in an attempt to boost circulation.

The Image Paradigm, while it does offer “creative control”--- only does so to a limited extent in that, for instance, Larson would not publish Vigil’s Faust if his life depended on it! Image, like the other 3 large publishers, for the most part, does not publish sophisticated adult material (and I’m not talking sex comics..)—so while the Image doors are open for talented creators, they are closed pretty quickly in the face of BOLD mature work, the likes of which will elevate this art form to its greatest potential. And if a little tasteful nudity, an appreciation of the human form, which is also a staple of Frazetta’s work, hence the term “Frazetta girl”, is offensive in a fantasy context as Fotos suggests, then I will spare him the pain of viewing my work. This is all about sales figures, plain and simple, in a largely conservative corporate-controlled comics market. And the current reports we see concerning “sell outs” of comics, usually revolve around Diamond Distributors stock in Direct Market numbers substantially lower than might be imagined by the casual comics reader.

The Frazetta vision has always presented violence and sexuality in a tasteful manner and that vision would not be acceptable in current market conditions, as fostered by the big publishers and retail base. Also, Fotos, who is apparently shepherding the Frazetta comics line diminishes the true potential of this ART FORM with his use of common rhetoric such as—“Hey folks, it's just comic books”, something akin to Larson’s wordage – “funny books”….. both of which condone the current misperceptions of the medium, thus informing average mainstream offerings which continue to be largely safe and shallow. That’s the template within which Fotos and Vigil and Kidwell labor on the Frazetta vision…to a market geared (and nurtured) toward a juvenile mindset. The medium is represented differently on a global level, though. But that is another discussion.

Remember that the FIRST choice Frazetta made concerning comics stories involving his characters, like Jaguar God and Death Dealer (and the brilliant pencil artbook – the name of which eludes me now), was to take them to Verotik, a bold visionary very ADULT publishing house in the mid 1990’s. That’s how he initially wanted his work realized —he ignored Image…. But times have changed, unfortunately. I understand the first Death Dealer book sold something like 80,000 copies—and that was just the first printing! I miss those days.

Sean

Triumph Without Compromise!

BATTLEGROUNDVICTORY.COM

[jayfotos]

Originally Posted by batlash

Thanks, Jay.

I didn't mean at all to belittle Dark Kingdom and hope no one took it that way. I'm looking forward to the book. And I am aware that the painting has been used elsewhere (a Molly Hatchet album cover comes to mind). It's just that as I was reading I found myself getting a bit nostalgic for Karl. He was an acquaintance of mind and I loved his work (still do, obviously). Dark Kingdom in no way detracts from Karl's work. I just started thinking that lots of people know the image, but fewer and fewer know where it originated.

I'm looking forward to Dark Kingdom and hope it does very, very well. And I hope to see more from Tim Vigil, either in Dark Kingdom or elsewhere.

Didn't take it that way at all, like what I said, it's just a fresh look, that's all and nothing more.

[jayfotos]

We have big plans for Red and I hope everyone sticks around to see it unravel.

[Rocket-Randy]

I'm very encouraged to hear of Frank's direct involvement in the creation of these comics and the focus on story instead of over-the-top gore and violence.

But man, the coloring is just awful. So drab and meh.

Franzetta's paintings just glow with his masterful use of light and vibrant color. He created the most eye-catching and engaging fantasy images with his dynamic use of lighting and colors - but these pages are all just flat greys and muddy browns.

Just look at the original painting compared to the panel based on it. The lines might be right but nothing else looks like the ethereal scene created by Franzetta's hand.

I hope future comics produced by your company do a better job on the coloring than the crude and limited pallet on display here.

[JoshuaOrtega]

Thanks for the shout-out, Mark...glad I could help with continuity, and I can't wait to read the final version of what you and Tim came up with!

And Batlash, thanks for bringing up Kane, I'm actually pumped to read those one of these days... I hear they're amazing.

Sean Patty, good to see you on the Frazetta threads again, and never fear...you may see more of what you're looking for in the upcoming books. Hell, just check out the cover of FRANK FRAZETTA'S SWAMP DEMON shipping in May!

When's the last time you saw a naked woman on the cover of a "mainstream" comic book?


Boundaries are broken one piece at a time...

[jayfotos]

[Sean Patty]

Originally Posted by JoshuaOrtega

Thanks for the shout-out, Mark...glad I could help with continuity, and I can't wait to read the final version of what you and Tim came up with!

And Batlash, thanks for bringing up Kane, I'm actually pumped to read those one of these days... I hear they're amazing.

Sean Patty, good to see you on the Frazetta threads again, and never fear...you may see more of what you're looking for in the upcoming books. Hell, just check out the cover of FRANK FRAZETTA'S SWAMP DEMON shipping in May!

When's the last time you saw a naked woman on the cover of a "mainstream" comic book?


Boundaries are broken one piece at a time...

Yes indeed, Joshua... and that is a welcomed step in the right direction for "mainstream" comics-- and one of Frazetta's strongest and sensuous works to be sure! Thanks to Fotos
for the preview, as well. Looking forward to this one, too.

Sean

Triumph Without Compromise

BATTLEGROUNDVICTORY.COM

[turk9]

I am definitely down for this as a huge Vigil fan. I have a Faust/Grips original inked sketch by him and had him draw me a Howard the Duck a few years back in Chicago. Definitely an artist who deserves more recognition and mainstream work (if he wants it, of course).

I honestly didn't know Faust was still being put out. Is that distributed through Diamond?

turk

[W Kenney]

In my opinion, this looks even better than Death Dealer (Not that Death Dealer was bad...). TIm Vigil is a great artist and this type of story matches his style very well. Can't wait until it's collected in one book.

[Templar1305]

Originally Posted by Sean Patty

.... the Dark Kingdom painting was originally concieved of for Karl Edward Wagner's KANE novels. Frazetta is on record as preferring the Kane vision to REH's Conan and Wagner's publisher spent lavishly to secure Frazetta's contributions to the books.
BATTLEGROUNDVICTORY.COM

Well, I am dissapointed that they decided to 'reinvent the wheel' instead of adapting the Wagner Kane stories too.
The KEW cycle of Kane yarns is great reading and for the most part, they are pretty much in limbo now that Karl is dead, except for a few limited editions and hardcovers that came out between then and now.

From what I recall, Frazetta did not take his work to Verotik, Glenn Danzig aproached Fritz. And, even though I enjoyed the DD comics (despite the fact they also reinvented the wheel instead of adapting Jim Silke's rather decent Swords and Sorcery Death Dealer novels) apparently Frazetta did not.
One intimate who knew both parties once told me Frazetta considered a big chunk of Verotik's output to be 'pornographic.'
Not that I have anything against Porno- I am a bachelor after all.
What is ironic is that the Most Dangerous Man in Comics, Hart Fisher was in charge of Vertotik's business office at the time and when they folded he eventually went to work for Vivid Video.
But that is neither here nor there....


For the record Sean, most people who get their nose in the air over superhero comics get their nose in the air over swords and sorcery too.
Literary elitism or snobbery makes even less sense in the fantasy-sci fi world than it does in the mainstream literature world.
If people find something entertaining, be it comics, fantasy novels, television or whatever, it has value to them, even if that value eludes critics.