1990 was well and truly high school, but not quite yet that year of driving with your first car. For me, this was also a time that I started to better define myself through my hobbies—which isn’t saying much. Even today, I am that “jack of all trades, master of none,” except the stakes back then didn’t seem as high as careers and locations make such stakes now. In other words, you have a bit more latitude in constantly redefining yourself in high school. But the one constant I seemed to enjoy was that of being “art guy.”
I loved sharing drawings, characters, and stories. Thankfully, one of the best things about comics is how inspirational they can be. My passing interest in doodles 4 or 5 years ago took such comics-born inspiration to become a passion and a calling. Taken together with my love for animation, comics were inspiritng me to pursue more and more artistic endeavors.
By this time, my habit of visiting Pee Wee Comics in Canoga Park, CA, was well and truly entrenched, as well, but comics were becoming more and more of a mainstream cultural experience. Another local comic shop opened closer to home—Brave New World Comcis in Chatsworth. At times, my loyalties were torn, but often BNW would have comics available that Pee Wee would not, and another great aspect of comic-hobbying could be enjoyed, that wonderful scavenger hunt of finding back issues and keeping track of the continuity of characters.
My circle of friends included many who shared the same hobbies, which allowed for great discussions, role playing games, and even conventions. I will always remember my friend’s brother getting a “table” at one local and regularly occuring conventions. I was able to dutifully label all of my comics collection in hopes of making some great sales. And in fact, I think I did okay! All of those mid-80s comics with the big names attached? Most were sold at fine prices. (Foreshadowing! Years later, of course, I would kick myself to consider the prices they would LATER fetch—the true speculator craze was soon to fully bloom in an explosion of prices and popularity.)
Here’s the stack of books I picked up in September:
Avengers Annual 19
Avengers 322
Avengers 323
Avengers West Coast Annual 5
Avengers West Coast 62
Excalibur 28
Guardians of the Galaxy 4
Iron Man Annual 11
Marvel Age 92
New Mutants 93
New Warriors 3
Nick Fury Agent of SHIELD 15
Quasar 14
She-Hulk
Silver Surfer 41
Uncanny X-Men 267
Uncanny X-Men 268
X-Factor 58
It may not be obvious to the casual observer, but hindsight will point out how times were a-changin’. The X-Men books were enjoying a rising popularity, especially as key artists were making their names known, and of those, namely Jim Lee (Uncanny X-Men) and Rob Liefeld (New Mutants.) The Guardians of the Galaxy was the hallmark of Jim Valentino, and Quasar was hosting artwork from up-and-coming Todd McFarlane. (McFarlane’s record-breaking Spider-Man #1 was published a month earlier in August, 1990, with eventual sales of 2.5 million copies total!) These names would become infamous as they would take the helm of high-profile books and then break away to form Image comics, shaking the walls of Marvel, not to mention the comics industry itself.
Marvel was, as always, both expanding their brand and attempting to diversify their market. The Avengers books were consolodated under John Byrne, argualby the last of the old guard, and who would have guessed it would be a snapshot of a fading star. The line featured annual issues that tied-in to all “corners” of related imprints, explaining how an Iron Man issue fell into that stack. Other titles were being experimented with as well—new books like New Warriors, and the aforementioed Guardians. While not part of my regular habit, things like Ghost Rider and Deathlok were being offered, and Marvel created its own imprint of Marvel UK comics.
For now, however, comics collecting was in that sweet spot. All I had was lots of creativity and creative interest, lots of free time and disposable income, and few worries about capital-L Life. (Speaking of “sweet spots,” my other area of inspiration—animation—was also undergoing a creative and popular Renaissance as well. 1988 saw the release Who Framed Roger Rabbit?, which in my mind sparked a renewed interest in American animation, and 1990 sits nicely inbetween the beginning of Walt Disney’s meteoric rise with The Little Mermaid (1989) and Beatuy and the Beast (1991), with the birth of the Disney Afternoon this September, 1990, as well!)
Wow. And here I thought I hated high school!
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