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BIBLIOGRAPHY - 1992-1996.jpg

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HYENA (1992-1993)

In 1992, Rick's story "Heredity" featured in issue #2 of Mark Martin and Tundra Publishing/Kitchen Sink Press, Inc.'s HYENA anthology series, (also feat. Wayno, Michael Kupperman, Shannon Wheeler, Walt Holcombe, Arakelian, Scott Musgrove & Brian Sendelbach, Ben Jackson, Mark Martin, Mark Campos, Terry LaBan, Brad Johnson, Roy Tompkins, Steven Cerio, Jim Woodring, Jeff Nicholson, Sherwin Mudflapp, Jr., and Scott Cunningham), followed with "Girlilla" in '93's issue #4 (also feat. Todd Ramsell, S. Musgrove & B. Sendelbach, S. Cerio, J. Woodring, Mack White, S. Cunningham, Sam Henderson, M. Kupperman, Tom King, T.K. Atherton, Jay Cotton, and R. Tompkins).

RICK GRIMES: "HYENA - came about because of the connection of [Steve] Bissette and TABOO with Tundra and Mark Martin.

Both of my pages are parodies of life at home with 'the folks'.

"Girlilla" the best of the two.

My mother the ape, the buzzard my father.

Believe it or not, the dialogue isn't far off. What made them like that is a long story, (and only a slice of our life).

My mother read it and laughed so hard tears came out.

My father wouldn't know the difference if I'd showed it to him." -- Rick Grimes (December 22, 2008).

- "HERIDITY" and "GIRLILLA" are both available to read in the PUBLISHED WORKS - 4 art / story gallery.

 


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THE STARRY WISDOM (1994)

Rick contributed "Pills For Miss Betsy" to Dave Mitchell's 1994 H.P. Lovecraft tribute anthology, THE STARRY WISDOM: A Tribute to H.P. Lovecraft (Creation Books - later republished in January 1995) (also feat. J.G. Ballard, John Beal, William S. Burroughs, Ramsey Campbell, David Conway, John Coulthart, Michael Gira, Adle Olivia Gladwell, James Havoc, Dan Kellett, D F Lewis, Brian Lumley, D.M. Mitchell, Alan Moore, Grant Morrison, Mike Philbin, Robert M. Price, Stephen Sennitt, Peter Smith, Don Webb, Henry Wessels, and Simon Whitechapel).

GRIMES: "It's a fine book I am very proud to be in. Dave [Mitchell] and whomever else he worked with did a great job with it. Much better book than I'd imagined it would become. And still worth the wait. Tho' it will probably take me ages to read all of it, it did impel me to start reading Dream Quest of Unknown Kadath, this winter.

My story, strangely enough, both looks as if it does belong and yet doesn't. How Dave ever knew it would fit when I hadn't done it yet, I don't know. Surprised, too that as well established a talent as Ramsey Campbell's is even bothering to mention me in his intro, let alone saying, even tho' so briefly, that I outdid HPL (H.P. Lovecraft) himself.

Flipping throo the book gives me a strange feeling. You can't miss my story. It blares out, as the only comic story of that basic comic book format and line, like an insert in one of those encyclopedias or medical books. Like my story is the paper lungs or kidneys in some anatomy book. Part of the drawing of the human body. And the rest is all about the surgical procedures or what not. The book even pops open in my hands like that. All by its 'lonesome' And while I do feel it actually holds its own right where it is, and like I saw, am proud its there and have no regrets having done it, I am sure there are many an H.P. Lovecraft purist, (or 'impurist'), that would like me and my work to get the Hell right out. Tough udders."

Am also proud of it because it is at last, and to date, I think, the only work I have had appear anywhere without any direct connection to my friends from the school. Like "Akimbo", there are also further chapters. In this case, the 'Pills' story continues on with the same character. Further bobbing him along through additional variations of what he's already been through. In fact, on checking my notebooks found that the initial run of notes for all of it began in January, 1990. Considerably before Dave Mitchell contacted me. (Tho' I had done no work on the art, only the writing or creative side). This sort of thing is sometimes of interest when 'Looking Back' at an artist's career, output or what-have-you. You can get mistaken impressions of your own past by the time the work comes out. The most obvious implication here, for the Lovecraft fan is, yes, I was crazy enough on my own to make up the story without H.P.'s influence. It just fit. (It's creatures, etc.) Make of that what you will.

The initial story in my notes was too long for an anthology or its manageability as a project. So, a chunk of it had to be bitten off and modified a little to have apparent flow and an 'ending'. What all happens to the troll later, I don't recall. We'll see. Any further chapters will be similarly titled. And in the same style, of course. Hopefully. There are at least two more sections of some several pages. (Some already panel by panel). The notes are still in conflict with each other and need alot of sorting. By the time you trade off 'beginnings' and 'endings' of chapters and one bit of business for another you effect something else you had intended. Then, what to do with 'Plan A'? Typical of complex projects; that have 'unreality' as a fundamental part, besides. Everything begins to seem arbitrary and up for grabs. This one' still in that 'birds nest' stage where you can't tell which 'bird' brought what bit of junk or if you even need it." -- Rick Grimes (March 15, 2009)

- "PILLS FOR MISS BETSY" is available to read in the PUBLISHED WORKS - 4 art / story gallery. To purchase this book, please visit Dave Mitchell's website: http://www.paraphiliamagazine.com/books.html.


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RARE BIT FIENDS (1994-1996)

Taking a break from TABOO in 1994, Rick contributed four original stories/strips to Rick Veitch's dream art/comic series, RARE BIT FIENDS (King Hell Press). First to appear was "Frickles" in issue #2 (August '94), "Clutch Angel" in #4 (October '94), "The Caramel" in #12 (June '95), then finally both "Clem Clambeau" and "Penny Boo" in #21, (August 1996 - the final issue of the series). Other artists to contribute their own dream art throughout the series include Stephen Bissette, Neil GaimanJames Kochalka, Jay Kinney, Don Simpson, and Aleksandar Zograf. Collected editions of this magazine are available via Veitch's official website: www.rickveitch.com.

GRIMES: "Again, as with TABOO, I knew about RARE BIT FIENDS, coming up, from Rick [Vietch], but did not make it into the first issue.

A quick rundown: "Clem" and "Clutch Angel" are the best. "Frickles" is peculiar enough and established my approach from there on, but I didn’t quite nail the way the little babbling man really looked. Only memory to go on - he was quite real, as the letter, printed in #8, laid out - but he was sitting next to me, not in the view presented in the dream. "The Caramel", is my least favourite. I don’t care for self-referential, in the literal sense, comics and hate including myself in anything, in stories. Normally I would’ve rejected it, but I liked the giant statue and costume-dive ideas, and thought overall it might ‘mean’ something to Veitch. It was about him. (For those not paying attention! I’m sometimes amazed what obviousness people can ignore when reading a comic sequence.) And his book, with him in it all the time. Thought he could use an ‘equalizer’, by then, as only dreams can do it. (As much for my mind as his, no doubt; my dream). The name ‘the Caramel’ is about the dumbest and blandest name for a ‘superhero’ you can get, but such are dreams. That alone would’ve been enough for me to avoid doing it. I gave Veitch the originals, to do with as he sees fit; since he’s in it. ‘At his discretion’. Anyone, interested in self portraits can check me, and [Steve] Bissette, in that story. I hate being ‘seen’ in shorts, but it gets in the 90s and 100s down here, so...

The other stories’ pages please me a great deal more. If anyone would like to ask, specifically, about them I’d be glad to say more.

There are at least two others I’d like to do, someday, if Rick ever returns to further, new issues of the book. I enjoyed doing them alot, ‘though it takes a certain focus. Tried to keep the artwork on them tight. And clear, albeit detailed. The format suits me.

All of them really are dreams. Some of the characters were contrived. It’s either that or do point-of-view all the time, which tends to be tedious and can be confusing to readers.

The letter Rick printed in #8 mentioned earlier, was sent to him, as the Frickles pages’ strange background; I had no notion he would print it. Consequently, a few of the words are wrong or I seem garbled; at the end, I was trailing up the side of the letter, not expecting a typesetter would have to read it., I have no artwork in #8. Just the letter.

Also, in #21, there is a minor piece called, "Penny Boo", slipped in with the letters page. The character is reciting a minor dream that wasn’t worth illustrating in itself; he was drawn from a circular spot in the grain of my drawing board that looks like him.

Don’t think Veitch was crazy about its middling attitude - that one can pursue the whole cycle of a project to completion and ‘still be no happier’. But that was the dream. And you can. My drearier side, granted. I just wanted to try out the character. (It related to something before). -- Rick Grimes (December 22, 2008).

- "FRICKLES", "CLUTCH ANGEL", "THE CARAMEL", "CLEM CLAMBEAU" and "PENNY BOO" are all available to read in the PUBLISHED WORKS - 4 art / story gallery.

 


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HEAVY METAL (1994)

In 1994, Rick also contributed "Squod" (presented in "Striptease" p. 65-72) to long-running UK magazine, HEAVY METAL, which featured in volume 18, issue #3 of July that year (also feat. Michael Aushenker, Roy Tompkins, Mack White, Mark Martin, Steven Erdman, Gerald Jablonski, Mark Landman, and Michael Kupperman). Official website: www.heavymetal.com/.

GRIMES: ""Squod", as in doodley, was a flook.

A carryover of Mark Martin (again), being editor there briefly, of the comics page section.

Just tried to think what they'd like - so, it was robots and cyclops.

They woudn't be likely to ever publish me again, under normal circumstances.

I liked how the page turned out." -- Rick Grimes (December 2, 2008).

- "SQUOD" is available to read in the PUBLISHED WORKS - 4 art / story gallery.