In Neon Visions, I discuss the ways in which Howard Chaykin’s work, once routinely hailed as groundbreaking in its themes and innovative in exploiting the unique properties of the comics medium, has in recent years been underappreciated or mis-understood in academic comics studies and comics fandom alike. But what about within the world of comics artists and writers? How have comics creators both within and beyond the mainstream responded to the work of an artist who expanded the boundaries of the possible in monthly adventure-genre comics? Here are five works indirectly or directly shaped by Chaykin’s influence.
Matt Fraction, Gabriel Ba, and Fabio Moon, Casanova (Image Comics, 2006-). Superstar indie comics writer Matt Fraction is an avowed Howard Chaykin fan and a frequent collaborator, most notably on Satellite Sam, an unblinking look at the seamy underbelly of 1950s children’s television that Fraction has frequently described as “Howard Chaykin fan-fiction.” But I tend to think of Casanova as the true spiritual successor to Chaykin titles such as American Flagg! or Time2. With Brazilian artists Gabriel Ba and Fabio Moon trading art duties on alternating story arcs, Casanova is a series in which Fraction transforms a deeply personal and idiosyncratic set of obsessions and preoccupations into a crypto-autobiographical thrill ride.
Ed Brubaker and Sean Phillips, Fatale (Image Comics, 2012-2014). Brubaker and Phillips have carved out a distinct niche for themselves doing sophisticated crime comics in a marketplace dominated by superheroes, expanding the territory that Chaykin helped to establish with series such as The Shadow and Black Kiss. Like Chaykin, Phillips is clearly an aficionado of classic twentieth century American illustration, and his elegant, moody art calls to mind the work of illustrators such as Robert Maguire or Robert McGinnis. I could have picked just about any of their collaborations for this spot – their anthology series Criminal, their supervillain crime caper Incognito, their blacklist-era Hollywood mystery The Fade Out – but their supernatural noir Fatale seems to owe a clear debt to Black Kiss, picking up its themes of obsession, identity, and the place of women in genre entertainment and taking them in a new direction.
Garth Ennis and Goran Parlov, Fury MAX: My War Gone By (Marvel, 2012-2013). Chaykin’s Blackhawk drew acclaim and controversy for taking DC Comics’ stalwart, square-jawed, and slightly dull World War II aviator and putting him in a carefully researched, richly imagined historical context, eschewing “greatest generation” rhetoric for a nuanced look at the interlocking political forces and ideological fantasies that characterized the immediate pre-war years. Written by Garth Ennis – another sometime Chaykin collaborator, most notably on the WWI flying ace series War is Hell: The First Flight of the Phantom Eagle – and beautifully cartooned by Goran Parlov, My War Gone By makes a similar move with Marvel Comics’ World-War-II-hero-turned-superspy Nick Fury, transporting the character to (somewhat) more realistically imagined post-war hotspots like Vietnam and Cuba for a tale about the follies of American empire. (Side note: Goran Parlov is also the artist for Marvel’s The Punisher: Welcome to the Bayou by Baton Rouge’s own Victor Gischler, a story in which the Punisher dresses up in an LSU tracksuit.)
Ho Che Anderson, King: A Comics Biography (Fantagraphics Books, 1993-2003, 2010). Chaykin is one of Anderson’s oft-cited inspirations, and the evidence is all over his monumental graphic biography of Martin Luther King, Jr. – not only in the clashing patterns and textures and disorienting page layouts that recall Black Kiss and Time2 but also in Anderson’s consideration of both the value and danger of American mythology, in his attention to the place of human failings and foibles in grand political narratives, and in his unsettling depiction of the ways in which mass media shapes our response to and understanding of history.
Michel Fiffe, Copra (2012-). Fiffe’s one-man showcase – long available only through his Etsy store, now available digitally – began as a love letter to titans of 1980s comics such as Chaykin, Frank Miller, and Bill Sienkiewicz, filtered through an affectionate riff on John Ostrander and Luke McDonnell’s classic Suicide Squad. As the series evolved, however, it became clear that the series was something purely his own, an eye-popping visual delight whose sketch-on-the-back-of-a-notebook energy was the expression of an original and uncontainable vision. Taking secondhand scraps of genre entertainment and making them truly your own – I can’t think of anything more Chaykin-esque than that.
Brannon Costello, associate professor of English at Louisiana State University, is the editor of Howard Chaykin: Conversations and Conversations with Michael Chabon; and, with Qiana J. Whitted, coeditor of Comics and the U.S. South.