July 25, 2010

Man Without Fear: David Mack, Daredevil, and the Bounds of Difference (Part One)
By Henry Jenkins

Last fall, I delivered one of the keynote talks at the Understanding Superheroes conference hosted at the University of Oregon in Eugene. The conference was a fascinating snapshot of the current state of comics studies in North America. It was organized by Ben Sanders to accompany a remarkable exhibit of comic art hosted at the Jordan Schnitzer Museum of Art Faster than a Speeding Bullet: The Art of a Superhero, . The exhibit consisted of original panels scanned the entire history of the superhero genre from its roots in the adventure comics strips through the Golden and Silver age to much more contemporary work. The conference attracted a mix of old time fan boys whose interests were in capturing the history of the medium and younger scholars who applied a range of post-modern and post-structuralist theory to understanding comics as a medium. In between were several generations of superhero comic writers and artists who brought an industry perspective to the mix. Charles Hatfield delivered a remarkable keynote address talking about the technical sublime in the work of Jack Kirby and my keynote centered on the fusion of mainstream and experimental comics techniques in the work which David Mack did for Daredevil. The presentation was really more of a talk than a paper so its taken me some time to get around to writing this up, but I had promised some of my readers (not to mention Mack) that I would try to share some of the key ideas from the talk through my blog. A number of readers have asked about this piece so I appreciate their patience and encouragement. In honor of Comic-Con, where I am, as you read this, I am finally sharing with you my thoughts about David Macks Daredevil comics. Images from Macks work here are reproduced by permission of the artist. Other images are reproduced under Fair Use and I am willing to remove them upon request from the artists involved. This paper is part of an ongoing project which seeks to understand what a closer look at superhero comics might contribute to our understanding of genre theory. Several other installments of this project have appeared in this blog including my discussion of superheroes after 9/11 and my discussion of the concept of multiplicity within superhero comics. At the heart of this research is a simple idea: What if we stopped protesting that comics as a medium go well beyond men in capes and include works of many different genres? No one believes us anyway. And on a certain level, it is more or less the case that the primary publishers of comics publish very little that does not fall into the Superhero genre and almost all of the top selling comics, at least as sold through specialty shops, now fall into the superhero genre. It was not always the case but it has been the case long enough now that we might well accept it as the state

of the American comics industry. So, what if we used this to ask some interesting questions about the relationship between a medium and its dominant genre? What happens when a single genre more or less takes over a medium and defines the way that medium is perceived by its public at least in the American context? One thing that happens, Ive argued, is that the superhero comic starts to absorb a broad range of other genres from comedy to romance, from mystery to science fiction which play out within the constraints of the superhero narrative. We can study how Jack Kirbys interests in science fiction inflects The Fantastic Four and other Marvel superhero comics in certain directions. We can ask why it matters that Batman emerged in Detective Comics, Superman in Action Comics, and SpiderMan in Astounding Stories. But second, we can explore how the Superhero comic becomes a site of aesthetic experimentation, absorbing energies which in another medium might be associated with independent or even avant garde practices. And thats where my interest in David Mack com es from, since he is an artist who works both in independent comics (where he is associated with some pretty radical formal experiments in his Kabuki series) and in mainstream comics (where he has made a range of different kinds of contributions to the Daredevil franchise for Marvel.) Certainly, most comic books fans understand a distinction between underground/independent comics and mainstream comics but there is surprisingly fluid boundaries between the two. In many ways, independent or underground comics were often defined as not superhero comics and therefore still defined by the genre even if in the negative. Throughout this essay, I am going to circle around a range of experiments which seek to merge aspects of independent comics with the superhero genre. My primary goal here is to map what David Bordwell, Janet Staiger and Kristen Thompson describe in Classical Hollywood Cinema as the bounds of difference. Bordwell, Staiger and Thompson draw on concepts from Russian formalism to talk about the norms which shape artistic practice and the ways they get encoded into modes of production. By norms, we mean general ways of structuring artistic works, not rigid rules or codes. Norms grow through experimentation and innovation. There is no great penalty for violating norms. Indeed, the best art seeks to defamiliarize conventions to break the rules in creative and meaningful ways and in the process teach us new ways of seeing. Genres are thus a complex balance between the encrusted conventions, understood by artists and consumers alike, built up through time, and the localized innovations which make any given work fresh and original. The norms thus are elastic they can encompass a range of different practices but they also have a breaking point beyond which they can not bend. This breaking point is what Bordwell and Thompson describe as the bounds of difference. They have generally been interested in the conservative force of these norms, showing how even works which at first look like they fall outside the norms are often still under their influence. They have shown how the classical system has dominated Hollywood practice since the 1910s and continues to shape most commercial films made today.

In my work, I have been more interested in exploring the edge cases, especially looking at the transition that occurs when an alien aesthetic gets absorbed into the classical system. This was a primary focus of my first book, What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetics and its a topic to which I have returned at various points throughout my career. In this talk, I want to use David Macks work for Marvel to help us to map the bounds of difference as they impact mainstream superhero comics. We can get a better sense of why Macks work represents such an interesting limit case by sampling some of the reviews for Daredevil: Echo Vision Quest from Amazon contributors, each of whom has to do a complex job of situating this work in relation to our expectations about what a mainstream superhero book looks like: If youd like to see Daredevil swinging through New York City beating up bad guys, this is not the comic for you. Although this is technically Volume 8 of the recent Daredevil run, it isnt exactly part of the regular continuity. The five issues that make up this volume were going to be a separate miniseries, but when Bendis and Maleev needed a break from Daredevil (after the Issue 50 battle with the Kingpin), the Echo mini was published under the Daredevil title instead. This has led to an unfairly bad reputation for this beautifully painted, dream-like exploration of identity and willingness to fight for a cause. Daredevil subscribers expected more of the plot and action that had filled the series to that point, and this meditative break was frustrating, particularly considering the point that Bendis had halted the main plot. If you are a fan of Alias (the comic) or Kabuki, this is for you. If you would like to gaze in awe at the poetic writing, beautiful painting and stunning mixed-media art of one of the most creative men in comics, buy this comic. You wont regret it. ****************************************************************************************** I think if this had come out as a graphic novel, or as a seperate mini, I may have enjoyed it more. But imagine being engrossed in an intelligent, gritty fast-paced work and then being forcefed an elaborate, artsy character study on a relatively minor character. This should have been a seperate mini or graphic novel. Instead we get the equivalent of a documentary on Van Gogh between Kill Bill Volume 1 and 2. ************************************************************************************ This book is a sadistic deviation from thier storyline and is writen and draw by David Mack. This is a () crap fest about a very minor character and her hippie like journey to discover her past. He then further expresses his impotency in the field by using chicken scratch drawings and paintings to move the story along with hardly ANY dialog. THis book is an artsy load of crap that should not be affiliated with Daredevil or Marvel. Each of these responses struggles with an aesthetic paradox: Macks approach to the story does not align with their expectations about what a superhero comic looks like or how it is most likely structured yet, and this is key, the book in question appears in the main continuity of a Marvel flagship character. There is much greater tolerance as several of the readers note for works which

appears on the fringes of the continuity works which is present as in some senses an alternative, what if? or elseworlds story, works which more strongly flag themselves as site of auteurist experimentation. There is even space there for the moral inversion involved in telling the story from the point of view of the villain rather than the superhero: witness the popularity of Brian Azzarellos graphic novels about Lex Luther and The Joker. But Mack applies his more experimental approach at the very heart of the Marvel superhero franchise and as a consequence, the book was met with considerable backlash from hardcore fans who are often among the most conservative at policing the bounds of difference. Vision Quest is not Macks only venture into the Daredeviluniverse: David Mack wrote Parts of a Hole which was illustrated by veteran Marvel artist Joe Quesada; David Mack then contributed art to Wake Up, written by Brian Michael Bendis, perhaps the most popular superhero script-writer of recent memory. In both cases, then, Macks experimental aesthetic was coupled with someone who fit much more in the mainstream of contemporary superhero comics. The result was a style which fit much more comfortably within audience expectations about the genre and franchise.

We can see the difference in these two images, the first drawn by Quesada for a Mack Script, the second as drawn by Mack based on his own conception. Both combine multiple levels of texts to convey the fragmented perspective of Echo, the protagonist, as she confronts her sometimes lover, sometimes foe Daredevil. The use of bold primary color and the style of drawing in Quesadas

version pulls him that much closer to mainstream expectations, while the deployment of pastels and of a collage-like aesthetic falls outside our sense of what a superhero comic looks like. The subject matter is more or less the same; the mode of representation radically different and in comics, these stylistic differences help to establish our expectations as readers. - See more at: http://henryjenkins.org/2010/07/man_without_fear.html#sthash.30ieQkao.dpuf

July 26, 2010

Man Without Fear: David Mack, Daredevil, and the Bounds of Difference (Part Two)
By Henry Jenkins

This is part two of a four part series exploring how David Macks visual style challenges the conventions of the superhero comic. Mack helped to introduce Echo (Maya Lopez) as a character in Parts of a Hole. Her backstory is classic superhero comics stuff. Heres how her backstory gets described in the Marvel Universe Character Wiki: When she was a small girl, Maya Lopezs father, a Cheyenne gangster, was killed by his partner in crime, the Kingpin. The last wish of her father was that Fisk raise the child well, a wish the Kingpin honored, caring for her as if she was his own. Believed to be mentally handicapped, Maya was sent to an expensive school for people with learning disabilities. There, she managed to completely replicate a song on the piano. After that, she was sent to another expensive school for prodigies. She grew into a gifted and talented woman. Upon visiting her fathers grave with Fisk, she asked how he died. Fisk told her that Daredevil had killed him. Maya was sent by the Kingpin to Matt Murdock to prove Matts weakness. He told her that Matt believed he was a bad person, and that she was the only way to prove him wrong. (As Maya believed him, it would not appear to be a lie when she told Matt.) Matt Murdock and Maya soon fell in love. She later took on the guise of Echo, hunting Daredevil down. Having watched videos of Bullseye and Daredevil fighting, she proved more than a match for Daredevil. She took him down and nearly killed him, refusing only when she found out Matt and Daredevil were one and the same. Matt managed to correct the Kingpins lies. In revenge, Echo confronted Fisk and shot him in the face, blinding him and starting the chain of events that would lead to his eventual downfall. All of this provides the backdrop for Vision Quest. As the title suggests, Maya goes out on her own to try to heal her wounds and think through what has happened to her. The result is a character study told in stream of consciousness, which circles through her memories and her visions, often

depicted in a highly iconic manner. This, for example, is how Quesada depicts the moment where Kingpen kills Mayas father in Parts of a Hole.

Now consider the way this same event gets depicted early in VisionQuest.

Macks page combines multiple modality multiple ways of depicting the world with highly iconic and abstract images existing alongside hyper-realistic images of the same characters. This radical mixing of style is a hallmark of Macks work, constantly f orcing us to think about how things are being represented rather than simply what is being represented. Consider this abstract

rendering of the key events Fisk is reduced to his big feet and legs, much as he might be seen as a child, while the breakup become Matt and Maya is rendered by the figure of the child ripping a picture of the two of them in half.

We are operating here within the theater of Mayas mind, yet she is also presenting these events to us with an open acknowledgment that as readers we need to have her explain what is taking place.

Once the book has established these rich icons, they can be recycled and remixed for emotional impact. This image builds on the first in several ways. Mack juxtaposes a more mature version of

Maya with her child self here and the childlike drawings are repeated to again represent key emotional moments in her life. While Mack repeats the purple of the earlier image, the dominant color that we associate with Maya on this page is red, a color which captures her passion and rage. She has moved from a vulnerable child victim into someone who has the capacity to strike back at those who have caused her pain. Lets pull back for a moment and try to establish some baselines for thinking about what may constitute zero-degree style in the superhero tradition. While his work was considered bold and experimental at the time, Frank Millers run on Daredevil has helped to establish the stylistic expectations for this particular franchise. Millers style was hyperbolic though nowhere near as much so as in his later works, including The Dark Knight Returns, 300, and Sin City. Yet, he also allows us to see some of the ways that superhero style orientates the reader to the action. The goal is to intensify our feelings by strengthening our identification with the superhero and with other key supporting characters. For this to happen, the pages need to be instantly legible. We need to know who the characters are and whats going on at all times, even if you can use minor breaks in conventional style in order to amplify our emotional responses to the action.

One of the most basic ways that superhero comics do this is through the color coding of key characters, especially the hero and villain, who are depicted in colors that will pop off the page and be distinctive from each other. Electra was designed to in many ways compliment and extend Daredevil so it is no surprise that she is depicted here with the same shade of red.

On the other hand, the highly codified colors of the Marvel universe allow us to instantly recognize the Hulk on this cover simply through the image of his arm and the contrasting red and green prepares us for the power struggle which will unfold in this issue.

A second set of conventions center on the depiction of action and the construction of space through framing. Miller was especially strong in creating highly kinetic compositions which intensify the movement of the characters.

In this first page, we see Daredevil falling away from us into the city scape below, while in the second Miller uses extremely narrow, vertical panels set against a strong horizontal panel to show the superheros movements through space.

Both of these pages break with the classic grid which is the baseline in these comics, but their exaggerated framing works towards clearly defined narrative goals. This next page breaks with our expectations that each panel captures a single moment in time by showing multiple images of the Daredevil in a way intended to convey a complex series of actions.

while here we seem to be looking straight down on the action in the top panel and subsequent panels are conveyed in silhouette, though again, there is such a strong emphasis on character motivation and action that we never feel confused about what is actually happening here.

This next image shows other kinds of formal experiments which still fall squarely within the mainstream of the superhero genre notice how the text becomes an active element in the composition and notice how the falling character seems to break out of the frame, both ways of underlying the intensity of the action.

Now, lets contrast the layering of text here with the ways that Mack deploys text in Vision-Quest.

Notice for example the ways Mack deploys several different kinds of texts printed fonts, handwritten, and the Scrabble tiles each convey some aspects of the meaning of the scene. We have to work to figure out the relationship between these different kinds of texts, which suggest

different layers of subjectivity that are competing for our attention. When I first read this book, I was especially moved by the ways that the hand print on Echos face which elsewhere in the book is simply another marker of her supervillain identity here becomes a metaphor for the last time her father touched her, moments before his death, and the sense memory it left on her, an especially potent metaphor when we consider the ways that the character is alligned with hypersensitivity and a powerful body memory which allows her to replicate physically anything she has ever felt or seen. While the sounds and dialogue emerge from the action in the case of Frank Millers pages, they are layered onto the depicted events in Macks design, part of what gives the page the quality of a scrapbook, recounting something that has already happened, rather than thrusting us into the center of the action.

The key elements of Millers style come through here the use of color to separate out the characters, dynamic compositions which emphasize character action, repeated images of the character within the same frame, flamboyant use of text, and the bursting through of the frame, all combine to make this a particularly intense page.

Where most superhero artists seek to covey this sense of intense action in almost every frame, Mack seeks to empty the frame of suggestions of action, seeming to suspend time. Consider this depiction of Daredevil battling Echo from Quesadas work for Pieces of a Hole.

The splash page traditionally either indicates a particularly significant action or a highly detailed image, both moments of heightened spectacle. Mack, on the other hand, often empties this splash pages so we are focusing on the characters emotional state rather than on any physical action.

Having established these conventions of representation, the mainstream comic may tolerate a range of different visual styles as different artists try their hand on the character, often working, more or less, within the same continuity. So, we can see here how Tim Sale plays with color to convey the characters identity even through fragmented images which focus on one or another detail of Daredevils body.

Or here we see how Alex Maleev creates a much more muted palette and a scratchy/grainy image which marks his own muted version of the hyperbolic representations of the character in earlier Daredevil titles.

The mainstream comics allow some room for bolder formal experiments but most often these come through the cover designs rather in the panel by panel unfolding of the action.

Macks artwork functions this way in relation to Bendiss Alias, where he was asked to design covers that did not look like conventional superhero covers and that might be seen as more femalefriendly, reflecting the genre bursting nature of the series content which operates on the very fringes of Marvels superhero universe.

The tension between genres is especially visible on this later cover from the series which shows how its protagonist is and is not what we expect from women in a superhero comic. - See more at: http://henryjenkins.org/2010/07/man_without_fear_david_mack_da.html#sthash.dDwqwbpv.dpuf

July 28, 2010

Man Without Fear: David Mack, Daredevil, and the Bounds of Difference (Part Three)
By Henry Jenkins

Last time, I explored some of the ways that David Macks visual style defines itself outside of the mainstream conventions of superhero comics. Today, I want to start with a recognition that Mack is not the only experimental comic artist who has sought to engage with the superhero genre. In so far as it defines the expectations of what a comic book is, at least in the American comic book, artists often seek to define themselves and their work through contrast with the superhero genre.

Daniel Clowes The Death Ray is a thorough deconstruction of the superhero myth, depicted through multiple genres, though most often read in relation to our stereotypes about serial killers and school shooters. Note here Clowes self conscious use of primary colors red and yellow to

set up the lurid quality of the more fantastical sequences in the book, often standing in contrast with the more muted colors of realistically rendered scenes. Project Superior is a recent anthology of superhero comics drawn by some of the rising stars in the independent comic worlds, resulting in work which further defamiliarizes the conventions of the genre.

I particularly admire a series of red, yellow, and blue images created by Ragnar which reduce the superhero saga to its basic building blocks. There is no story here, only the elements which get repeated across stories. This Doug Frasser story is clearly intended to suggest Daredevil though not in ways that would illicit a legal response from Marvel.

This one by Rob Ullman which combines a play with iconic elements and a much more mundane sense what kinds of work superheroes perform.

Here, Chris Pitzer further abstracts the characters into a series of geometrical shapes with capes, while following the basic narrative formulas to the letter.

These experiments are interesting because they explore the potentials for abstraction or realism which exist on the margins of the mainstream industry. There is also a great pleasure in watching these gifted cartoonists use the codes of mainstream companies as resources for their own expressive play.

We can see similar forms of abstraction in Macks work in the Daredevil franchise. So, for example, this page from Wake Up is as fascinated with the color red as anything found in Project Superior.

And we see throughout Vision Quest Macks fascination with reading the central characters through various forms of abstraction, often involving pastiches of the work of particular modernist artists.

This play with abstraction can be understood as part of the process by which Echo wrestles with her own identity, especially given the many overlays of others performance she has absorbed through the years as she has exploited her powers on Kingpens behalf.

Or consider the various ways that Mack deconstructs Wolverine, one of the more iconic characters in the Marvel universe and thus one which will remain recognizable even in a highly abstracted form.

Mack is interested especially in three aspects of Wolverines persona his animal like ferocity, his claws, and his metal-enhanced skeleton which become, in the end, all that remain of the character in some of these images. Wolverine becomes a set of claws without a man much as the Cheshire Cat becomes a grin without a cat.

Note how Mack uses the frame lines to pick up the shape and impact of the claws or how he incorporates photorealistic renderings of animal bones to remind us of the skeletal structure which gives the character his strength and endurance. By this final panel, Mack uses Exacto blades to suggest Wolverines claws and shows us only the human bones beneath his skin. Here, the

abstraction serves the purpose of creating ambiguity since as we read this story it is not meant to be clear whether Echo met the actual superhero or whether this Wolverine is a projection of her shamanistic vision. Macks collaboration with Brian Bendis seems to rely heavily on his capacity for abstraction. For Wake Up, Mack is asked to depict the world of the superhero as seen through the eyes of an emotionally disturbed child who has watched his father the Frog die at the hands of Daredevil and who has struggled to process what he saw.

Here, Macks movements between highly realistic and more abstracted images are meant to convey objective and subjective perspectives on the action. The child endlessly draws images of superhero battles and as the story progresses, we learn how to sequence those images to match the voices he hears in his head. Needless to say, there are clear parallels to be drawn to the movement from

single images to sequences of images which constitutes the art of comic book design. As with Vison-Quest, the story refocuses on a secondary character Ben Urich with Daredevil seen only in terms of his impact on their lives. We can see the focus on the subjective experience of an emotionally disturbed character as a historic way that modernist style gets rationalized in more mainstream projects starting perhaps with the ways The Cabinet of Dr. Caligari frames German expressionism in terms of the world as seen through the eyes of a patient in an insaine asylum or for that matter, how Hitchcock absorbed aspects of Salvador Dalis surrealism into Spellbound, another film set at a mental hospital. - See more at: http://henryjenkins.org/2010/07/man_without_fear_david_mack_da_1.html#sthash.JfXjhp3q.dpuf

July 30, 2010

Man Without Fear: David Mack, Daredevil, and the Bounds of Difference (Part Four)
By Henry Jenkins

If Project Superior pulls the superhero genre into the space of independent comics, then a range of recent Marvel and DC projects have pulled the independent and avant garde comics artists into the realm of mainstream comics publishing, again via the figure of the superhero. Here, again, they seek to motivate the experimentation through appeals to character psychology. In this case, DC invites us to imagine what its superhero sagas would look like if they were produced by the denizens of the Bizarro World, noted for their confusion and often reversal of the norms of human society.

Matt Groenig (The Simpsons) shows the Justice League characters as being blown out of the pipe of Bizarro Superman, helping to set up the premise of the collection as a whole. If Project Superior is drawn towards forms of abstraction, the Bizarro comics have more room for the ugly realism that we associate with certain strands of indie comics, a tendency to deflate the heroic

pretensions of the characters through various forms of the grotesque, as in this image by Tony Millionaire,

or the everyday, as in these images by Dave Cooper,

Danny Hellman

and Leela Corman.

These superheros are very down-to-earth, their human faults and foibles on full display; the heroes are often shown off-duty doing the kinds of things their readers regularly do. These images depend on our pre-existing relationship with the superheros for much of their pleasures. Project Superior depended on generic versions of the superhero, while these stories work with Batman,

Wonder Woman, Aquaman, and the others, with the artists incorporating just enough of the familiar iconography and color palette to make it easy to recognize which characters are being evoked and spoofed.

Anyone who has read a Batman comic will no doubt recognize much of the debris in the Bat Cave depicted in this drawing by Kylie Baker, yet his cartoonish style is very different from what we would expect to see within the Batman franchise itself. This Jason Little page depicts the superheroes as bath toys, suggesting that they only come alive in the imagination of the child who is playing with them.

Mack himself relies on the image of superhero action figures, in this case of Marvel characters, in Wake Up, as another way into the tortured imagination of his young protagonist.

Macks work involves a fascinating blurring of the distinction between graphic novels and artist books. Artist books are artworks which are intended to explore the nature of the book as a genre. Sometimes, they are printed in limited editions. More often, they are one of a kind items. They play

with the shape, texture, and format of the book in ways that are idiosyncratic to the individual artists. They often are focused on the materiality of print culture rather than on the content of the book. Nothing could contrast more totally with the cheaply printed, mass produced and circulated comic book. Historically, the art work which went into producing the comic was presumed to have no value and was often discarded once the book has been printed, much as we might toss the manuscript once the words have been set into type. Yet, Mack is very interested in creating pages which are artworks on their own terms. He deploys innovative techniques and unexpected pigments (such as coffee grinds) to construct his images. Often, he layers physical and material objects onto the page so it is not a flat representation but something with its own shape and feel. Mack publishes books which remove these images from their context in the unfolding stories of his graphic novels and call attention to them on their own terms as artists constructions, often describing and documenting the techniques which went into their production. His process has been documented in a film called The Alchemy of Art, which shows him creating some of the images contained within Vision-Quest and includes his comments on the process. Here, the printed comic becomes almost a byproduct of his creative process which is concentrated on the production of beautiful one-of-a-kind pages. Throughout Vision-Quest, Mack calls attention to the often invisible but always important framelines and buffers in his layout by using physical materials rather than drawn lines to separate out his panels. In other instances, he glues objects such as leaves or birds wings directly onto the page in what amounts to the graphic novel equivalent of Stan Brakhages Mothlight.

In other cases, he creates designs which play with the orientation of the page, demanding that we physically turn the book around in order to follow the text or the action.

In his own graphic novel series, Kabuki, he plays with the notion of origami encouraging the reader to think of the page as something which can be folded and sculpted rather than simply part of the printed book.

In each of these cases, Mack builds on practices associated with the art book movement, but deploys them in relation to mass produced artifacts. He wants us to remain conscious that we are holding a printed object in our hands that has particular properties and expects particular behaviors

from us. Here, again, he has both built upon and broken out of the visual language of mainstream superhero comics. This is not what a superhero comic is supposed to look like, even if it is telling the kind of story which might be readily accepted if communicated through a different style or mode of representation. Exploring the ways that Mack pushes against these expectations even as he operates at the heart of one of Marvels cash cow franchises is what helps us to und erstand the bounds of difference. And in the process, it helps us to understand how diversity operates within a genre which has otherwise come to dominate the comics medium.

Filed Under: book shelf, Comics Culture

Comments

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Superhero Legacy says:

August 9, 2010 at 6:38 pm

I dont know if theres anything Groenig cant create a depiction of and still put his unique variation on. I think some of these small comic stories could be made into all-out comic series, especially the ones by Cooper and Corman. However, they probably would not sell as well as the originals

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