Thursday, February 7, 2013

Fall Guy

[It has come to my attention, via my Ever-Faithful Bloglodytes, that users of Internet Explorer (IE) may encounter problems in viewing Heroes In My Closet. Whether this is due to recent changes in Blogger or IE is unknown. Regardless, to enjoy the full Heroes In My Closet experience, open using another browser (Firefox is a freely downloadable and endorsed by Your Nattering Narrator). I apologize for any inconvenience this may cause. Now, without further ado...]

 “Yeah, I’m gonna bungee jump... What’s it to you?!” 

Spider-Man bungee jumping makes about as much sense as Fred Astaire line-dancing. But then again, there’s little sense in everyone’s favorite Webhead riding the hood of a racecar or using an elevator (see “Web Stock” and “I Slept with Stan Lee,” respectively). It’s just that when you have a character whose preferred mode of travel is swinging from a strand of homemade webbing, the idea of him plummeting with an industrial strength elastic band tied to his ankles seems a bit… well… anti-climactic.

But of course, I speak from a position of being Spider-Man. In a world where the beloved Web-Slinger doesn’t exist, where the average Joe has no hope of actually witnessing the red-and-blue idol of millions spanning the skyscrapers of the Big Apple at the end of a silk thread, then being privy to a bungee-jumping man in a Spider-Man suit may be the next best thing. In the case of my performing the stunt as the Wondrous Webster, I was more of a puppet on a string. I had little, if any, say in the matter. And quite frankly, I was scared shitless, which may not sound surprising until you learn that I’d jumped out of a plane less than ten years prior!

 Spider-Man skydiving?! Crazy? Not so much, as evinced by this panel from Amazing Spider-Man #1, penciled by Steve Ditko 

Toward the end of my senior year at Boston University, my best friend Chris and I made a pact to go skydiving. Whence the idea came remains hidden in the deepest recesses of my memory. Neither one of us was a daredevil or extreme sports enthusiast—Chris more so than I by far. My greatest life-changing experience since entering college was quitting the use of the hatchway for peeing in my cotton undies for the more convenient and sensible maneuver of simply pulling down the waistband! This revelation came via an otherwise forgettable two-man improv piece by my room- and classmate, David, during sophomore year. At one point in the acting exercise, David, held up a pair of the ubiquitous briefs—often sold in three-packs at chain stores, such as Bradlees (now out of business) and Sears, and I would guess today at the likes of Target and Walmart—poked his finger through the penis trapdoor and asked the audience, “Does anyone actually use this?”

Fortunately, I stopped my hand before it was fully raised and hunkered in ignominy, questioning my existence. How else does a guy pee?! Isn’t that why the hole is there?! Later I confronted my roommate in the privacy of our 10' by 15' prison cell… uh, I mean dorm room. I appreciated his not reporting me to the authorities, though he couldn’t suppress a look of incredulity at my questioning his ability to pee whilst cotton-undie–clad without employing the manufacturer’s penis portal. Finally, he blurted in exasperation, “Just pull down the waistband!” My next trip to the urinal I did just that, albeit with more than a smidgen of skepticism…

Cue angel chorus. 

It was shockingly simple. Using the manhood manhole was like trying to coax a cat out of a tree. I felt like such a fool… All that time wasted… sigh…

The idea to jump out of a plane may have come from a New School catalog. Unsure whether these exist throughout the U.S. or only in larger metropolitan areas, but they can be found in New York City as well. The New School catalog is a magazine-size listing of learning opportunities—for lack of a better way of explaining the catalog’s kaleidoscope of offerings—available in the city. On average, the teachings are of the more esoteric variety, like theoretical canoeing or pet psychology, but there were also adventures such as white water–rafting and skydiving. The catalogs are free—though the courses therein are not—and freely distributed via boxes similar to newspaper-vending machines.

As I dredge the murky depths of this story, a clearer vision of Chris excitedly bringing my attention to the sky diving class in the New School’s pages manifests. An outfit in southern Maine, called Skydive Lebanon, offered the course, which included training and one static-line jump, for $156. The fee wasn’t cheap for a graduating college student in the era shortly following Orville and Wilbur’s historic flight at Kitty Hawk, but soon Chris had my promise to join him in the endeavor after graduation before we began our lives in the real world as adults.

Prices circa 1986
 
Graduation came and went. Chris went back to his hometown of Armonk, NY, where he prepared to move to the city. Determined to work throughout the summer to raise enough cash with which to pursue my acting career in the Big Apple in the fall, I moved in with mom, who’d permanently relocated to our summerhouse in Cape Ann, MA. But I never strayed from my pact with Chris. Unfortunately, the distance between us was unfeasible for organizing the promised skydiving trip, and I soon realized it would never be… at least not with Chris. So I booked a date.

A few days later I received confirmation in the mail, along with the outfit’s typewritten handout, a far-from-professional, double-sided flyer, which featured crude drawings and handmade directions. At the time, I didn’t think much about the quality of the flyer, that it might be indicative of Skydive Lebanon service or expertise… or lack thereof. Perhaps, since New School featured them among their courses, I felt comfortable with the company. Or maybe, my hard-on to jump from a plane blinded me to what may have been a fly-by-night operation. You’d think I’d be a little more concerned. It’s not like I was entrusting my life to someone teaching me the ins and outs of needlework!

 With its top-notch typesetting, stunning graphics and cartographer’s map, the Skydive Lebanon flyer exuded professionalism and confidence 

My parents were not happy, and their response had nothing to do with the shabby-looking handout, which I wisely kept to myself. They were just being parents. My mother, whose overly dramatic reactions are legendary, was nearly in tears. The day she learned that I occasionally smoked marijuana, her hysterical diatribe culminated with, “I don’t want you ending up like Judy Garland!” Huh?! When I confessed my plans to jump from a plane, she all but ordered a casket for me. My father, who served in the army during the Korean War, was in complete denial. “What the hell would you want to do that for?” he spat with complete disdain, like I’d committed some heinous act. He cut me off mid-reply, telling me he didn’t want to hear anything about my escapade until after I’d landed. Their reactions merely strengthened my resolve.

 Stop recreational marijuana. Don’t let this happen to you! 

The reactions of friends ranged from similar to awe. You’d think my decision to trade six years in one of the most prestigious prep schools in the country for a degree in acting would have prepared them to some degree for my unorthodox approach to life. Some were envious; oddly, many of the call-me-crazies, defended their positions with “I’m afraid of heights.” I found this strange, because at 10,000 feet, there is no height; that is to say, there is no frame of reference with which one’s mind can compare in order to experience that type of fear, as opposed to when one stands atop a ladder or chair, where the distance is accessible to the senses and the crash zone is clearly visible.

Jumping out of an airplane—crazy? Not in the least. Now, skiing? You have to be insane to propel yourself down a tree-dotted mountainside with nothing but an insulated bodysuit. Not to mention the cost. After the skis, poles, boots, gloves, goggles, various other winter wear—which, granted may be rented, but that still isn’t free—there are travel expenses and the lift ticket. If you are a beginner, you’ll need instructions.

More importantly, schussing takes skill. You could devote hours of practice and point to one run down the bunny slope without falling as your greatest achievement. Now, skydiving. All you need is a heartbeat; you don’t even need legs. Anyone can fall—gravity doesn’t discriminate. A sporty thrill with little instruction, relatively little economic outlay and no skill required? I’m there!

I understand skiing is an internationally popular pastime/sport, the fans of which find thrilling and fun. I wouldn’t be poo-pooing it, if those skiing aficionados with whom I spoke of my wish to jump from a plane hadn’t disparaged me my choice of adventure. To each his own. One man’s crazy is another’s idea of fun.

Overall—even outside the aforementioned Jean-Claude Killys—I received little support. Chris, the rare enthusiast to my cause, was too distant to make more than a faint impact.

No matter.

On Friday, July 18, 1986, I left home for my date with destiny. It was a clear summer day free of haze and humidity. My jump was scheduled for 5 P.M., which by the standards of early summer would leave a few hours until dusk. It should be noted: my mom was not home upon my departure, even though she was well aware of where I was going. She was in denial, which would prove a common refrain whenever I or one of my sisters did anything with which she disapproved. A few weeks later when I left for New York to pursue my acting dream, she couldn’t be bothered to tear herself away from washing dishes to say good-bye as I drove away in the U-Haul truck. I don’t think she ever truly relinquished the thought that I would be returning home at some point.

Lebanon, ME, is approximately 75 minutes from Boston. Manchester, MA, is 40 minutes north of Beantown. It wasn’t a straight shot, however, since Cape Ann sticks out from the mainland. Still, even with the southern backtracking to access Route 95 from Ipswich, I arrived at base camp about an hour later. The leaflet described Skydive Lebanon as an airport, which would be like comparing an episode of Green Acres to Gone with the Wind. A large homestead and separate storage facility sat beside a single airstrip, nestled in the backwoods of Maine (The business has since grown to include a pro shop, café, overnight accommodations and nightlife). Fortunately, the runway was paved, though I don’t think a dirt track would’ve swayed me from my goal.

 This larger sign greeting thrill-seekers did not exist when I made my dive. Nice to see the smaller one survived. 

This was no high-falutin’ corporation, but rather a small business—I hesitate to use the word—started the same year of my escapade and run by like-minded lovers of skydiving who decided to turn their passion into a career. It reminded me of the male cliché of owning a bar, wherein after much imbibing, one of a group of buddies enthuses, “Hey, if we bought a bar we could hang out and drink together forever!” These guys were truly living the dream of doing what they loved. Much of the talk among the base campers was how many dives they’d already fit into the day and what that number did to their lifetime total. Perhaps it’s just my memory exaggerating the moment for effect, but I remember the tallies being in the thousands. “Enthusiasts” would have been woefully inaccurate to describe the Skydive Lebanon personnel. They fit a jump into their mornings before peeing.

 Though the official name may have changed, Skydive Lebanon in Maine flourishes. And why not? They’re consummate pros whose love for jumping ensures a high level of safety and fun. 

There were three of us scheduled to take the plunge, and as it was already late afternoon, the crew was anxious to get into the air while conditions were good. One member led us to the storage building, where we were outfitted with jumpsuits and parachutes. From the look of an area containing an easel fronted by dual desk/chairs, it appeared the squat structure doubled as a classroom. My suspicions were confirmed a moment later when our instructor decided to test us on skydiving procedures, which we learned at the course a few weeks earlier.

Huh?! What course? When? Where?!! My heart dropped as my senses reeled. Somewhere along this ride toward destiny, I’d missed a turn. I was so fixated on the brass ring, I forgot to get on the horse. And the evidence of my screw-up was clearly delineated in black ink on the shabby little handout: 10:00 AM 7/6. There were no other notes, but the time and date’s meaning suddenly clarified. That was the date of the skydiving class! All I noticed were the scribblings alongside the directions to base camp.

While my guts Ping-Ponged in my chest, outside I kept a cool veneer. Already that BFA in Performance was paying dividends! Now understand: I’d just discovered that my plans to hurl myself from an airplane at 10,000 feet necessitated my having taken a course, which would allow me to perform said plans successfully, i.e. without becoming a bloody stain on a remote field in Lebanon, Maine, and my only thought was fooling my instructors into thinking I’d passed the course and was ready to go.

What was I, a f***ing idiot?!! 

And no, I wasn’t high… yet!

It’s funny how age alters one’s perception of mortality. I gave no thought at the time about the ramifications of skydiving without knowing the basics. I just wanted to do it. Only in my calling forth these thirty-year-old memories, when the awareness of death is more prominent, seemingly hanging more precipitously over me like the sword of Damocles, have I realized what a young, naïve fool I was.

Fortunately, the Skydive Lebanon instructors were not so easily flimflammed. They may have presented themselves as the jumping equivalent to Moon Doggy and the other surfers in Gidget, but they were consummate professionals. After fumbling through a couple of questions, one of them asked me, “Didn’t you take the course?” I’d been caught with my hand in the cookie jar and could do nothing more than confess. My heart sank. Surely, I’d be sent home, my only hope was a quick rescheduling for taking the course and jumping at a later date.

But no! As if it’d been their mistake, the teachers seemed equally crushed that I’d somehow missed the course and thus be unable to experience the thrill with which they’d devoted their lives. They unilaterally decided there was enough time to verse me in Skydiving 101, so I could go on with the jump. Apparently, it wasn’t rocket science... or skiing for that matter.

The maiden skydiver had only two options when jumping, at least as far as Skydive Lebanon was concerned: “Tandem” or “Static Line.” With the former option, an instructor jumps with the parachuting preemie, literally harnessed to the individual. The advantages range from experiencing a longer fall before chute deployment to literally not needing to know a damn thing. Static line choosers jump alone, but the pull cord is attached to the aircraft, thus deploying the parachute once the newbie’s descent reaches the end of its tether. Those of the latter variety may not plummet as far, but their skydiving experience includes the thrill of going it alone without the relative comfort of a professional literally at your back; although there would be one in your ear!

 Along with the jumpsuit, each Static Line diver wore a helmet, which did more than protect the head. A receiver inside ensured that an instructor was with a jumper at all times, whether Tandem or Static Line. Each would be carefully monitored from the ground and talked to if the case warranted.

I’d signed up for the static-line option—I never did play well with others…

Although in both cases, the onus of popping the chute was not left entirely in the hands of a neophyte, other problems could occur. There were only a handful of these, however, the most pressing of which was the absolute failure of the parachute. Without an expert to lead the way, the static-line jumper needed to know how to respond to each. True, the ground crew could supply instruction and guidance via the helmet, but the individual still had to perform the necessary maneuvers themselves. And there was always the possibility of a malfunctioning headgear.

One other literally drop-dead failsafe was in place, if the primary parachute didn’t deploy and the emergency ripcord fizzled as well. There was also the possibility the jumper—realizing their canopy hadn’t opened—totally freaks to the point where they can do naught but flail about like a piece of Samsonite luggage in a gorilla cage or is so terrified they freeze or simply pass out. In any of these extreme cases, an automatic activator attached to the back-up chute would trigger. The device measures the air velocity at which the skydiver is plummeting. If a certain speed is attained, one indicative of a body plunging unimpeded for hundreds of feet, the gadget releases the emergency canopy.

[Count.] Look. Look. Pull. Pull. 

That was the mantra instilled in all potential divers before take-off. The count was eight one thousands, if I remember correctly, begun as soon as one’s body leaves the aircraft. After the eighth, the jumper looks up to gauge the success of the chute’s deployment—the initial “Look.” A series of simple drawings was used to exemplify the possibilities that might occur. Of these, a perfectly formed canopy was the ideal, but even the most expertly packed chute occasionally suffered twisting or entanglements when opening. Each of these had a sketch and method of troubleshooting. Encountering any of the aforementioned would negate continuation of the mantra. The skydiver would either enjoy the descent—a properly deployed parachute—or take the simple, necessary steps to amend the canopy and then fall as intended.

 “Spidey don’t need no stinkin’ fail-safe measures!” 

The second “Look” instructs the diver to direct his eyes to the emergency chute-deployment handle, which sits over the left breast, where one would put their right hand when making the Pledge of Allegiance. A diver would only pull the emergency cord if there were nothing but sky—depicted with a blank card—or a torn non-functioning parachute upon initial look. Then, the final order of the mantra—“pull”—would be followed. The echo is there to punctuate the directive, a slap in the face should the first be ignored.

Once the parachute was properly opened, the jumper was then instructed to reach up and pull down the toggles, which controlled the steering, found at the base of the chute. As a newbie to skydiving, I knew little of the advancement in the hobby’s technology. I’d initially been informed of the then relatively new rectangular chutes in the literature provided in the New School offering. Otherwise, I would’ve expected the traditional round ones most people associate with the sport.

Steering was easy. Want to turn right? Pull down on the right toggle. Left? Pull down on the left one. In this way, divers could stay clear of trees and power lines and direct themselves to the landing area indicated by a ginormous traffic-cone orange arrow on the field next to the airstrip. Employing both toggles created a leveling and slowing of one’s descent, a maneuver we were instructed to use when we got to within ten feet of the ground. This technique ensured a comfortable landing.

The Skydive Lebanon instructors flipped the cards before me in ever-increasing succession, as I deftly described the situations depicted on each and the best measures to take. I have no doubt that the staff would’ve prevented my jumping if my troubleshooting knowledge weren’t up to snuff or I showed the least bit of trepidation or hint of hysterics. They were also sure to explain that I was under no obligation to skydive that day, but could take the course and jump at a later date.

I wanted to dive and felt confident of my abilities to counter any problems should they occur. I didn’t even blink when they presented me with the release form to sign.

The plane was small, the only seat being that of the pilot. Even the instructor was on the floor. I’m not sure what I expected—perhaps something along the lines of the D-Day scenes in Band of Brothers and Saving Private Ryan without, of course, the enemy fire—but it certainly didn’t prepare me for the way the parachutists were stuffed into the aircraft’s cabin, like clown in a circus car.

Our positions were predicated on weight to ensure equal distribution. There wasn’t any chance of being coy about one’s heft either. Everyone was weighed before take-off. Thank goodness for that! I’d hate to be the victim of someone’s lying about their poundage because of their embarrassment at no longer being a Size 10. All three of us had chosen the Static Line option. I’m unsure how the staff would’ve configured us had there been a single Tandem Jumper, with the participating instructor, included in the arrangement.

 Best not to grab a bite at the Ripcord Café until after your jump 

As fate would have it, I was the first to get in, which meant I would be the last to go out. Squished on my knees with my head facing toward the tapered rear of the plane, I rued the big lunch I’d eaten hours earlier. Thankfully, a pair of small, round windows bookended the sides of my head. Otherwise, I might’ve gotten sick. Facing forward, the other two debutante divers sat at my back, the second jumper behind the pilot, numero uno facing the instructor who rode shotgun sans seat.

It didn’t take long for the plane to take off and reach the proper altitude. The instructor opened the door beside which he sat and signaled the first diver to take their place, which meant sitting with legs outside the vehicle, as if no more than hanging out on the stoop of a building. After a final check of the jumper’s chute and static line, the instructor gave the thumbs-up—the roar of the engines made shouting instructions useless. Through one of the portholes from the cramped rear of the plane, I watched the perfect deployment of the Number One’s chute. Like cans in a Coke dispenser, my fellow rookie and I shifted into the respective openings left by our colleagues.

 “You go right ahead; we’ll be right behind you!” 

The plane circled and soon I witnessed the second skydiver take flight, a properly formed canopy marking their smooth departure. I skootched into the hot spot. It was at this point, with my legs outside the aircraft, circling into position that I began to second-guess my decision. In my head, I tried to reassure myself. The odds of anything going awry during a dive were enormous and those of actually plunging to my death were astronomical. I knew this, but all I could think about was the fact that with the successful jumps of my two colleagues, the odds of something, anything, going wrong just went up!

I concentrated on checking my equipment, reacquainting myself with the emergency pull and ensuring my static line was secured, as if I could somehow delay my departure. Too soon, the instructor put up his thumb. I looked out the door at the greenery far below, turned back and shook my head. It wasn’t the height. Again, unless one has experience falling from a particular altitude, the brain can’t comprehend its meaning. But at that moment, I was face-to-face with mortality, and my survival instinct had finally been bitch-slapped awake. The instructor ignored my response and once again gave me the go-ahead, this time more intently with a shake of his thumb as if I’d somehow missed it the first time. I knew if I jumped I was dead UNLESS everything went according to plan. With that thought, I shut off my brain and let fly.

 “… eight, one-thousand… Look. Look. Pull. Pull.” 

I immediately went into the mantra: one, one-thousand; two, one-thousand… By four, I was yanked upward as my parachute deployed. Of course, my descent hadn’t suddenly changed direction, but rather considerably slowed. The mind and body, however, seemed to continue their descent for a moment creating the illusion of abruptly shooting upward. Still, I maintained my training and completed the count to eight, one-thousands, before checking the canopy above me. But I couldn’t access the steering toggles. My lines were twisted! Still, contrary to what the exclamation point might suggest at the end of the previous sentence, I was cool as a cucumber. Maybe too cool, as I finished the mantra—looking down at the emergency cord and uttering pull, pull, only without actually carrying out the action—before returning my attention to the tangled lines above my head.

 “To everything, churn, churn, churn...” 

Again, my training smoothly kicked into gear. I began churning my legs, as if I were peddling a bicycle. I looked the fool, but damn if it didn’t instantly result in my spinning out of the entanglement. The ground crew hadn’t chimed in, allowing me to handle the situation without assistance, most likely not wanting to disturb me during the preliminary countdown for fear of causing greater damage. Once twist-free, I activated the toggles, at which point I heard a voice in my ear. “Good job, number three. Enjoy yourself while we land number two. We’ll check back as you get closer to the ground.” With the assurance of the pros watching my back, I basked in the awesomeness of skydiving.

I floated, turned right, then left, flattened out to a seeming hover, even corkscrewed and all the while exulted in the experience. “THIS IS F***ING AMAZING!” I screamed several times with interstitial whoops for good measure. Never again would I look dubiously at a skydiver when they mention having made thousands of jumps. I can’t imagine another drug, which provides the same euphoria. If I were they, I’d be popping Ambien and sleep-diving, so as not to have to wait until morning for the first jump of the day.

True to their word, the ground crew piped in as I neared Mother Earth. I didn’t want the feeling to end, praying for a sudden updraft to lift me back into the sky. No such luck. As I approached the touchdown area and a better perception of my distance from the grass, I discovered that what I perceived as wafting slowly, gracefully, downward was in reality falling at a frightening pace. As the ground rushed up to greet me, I wondered what the Skydive Lebanon guys were waiting for in giving me the signal to employ the toggles for landing. Finally they gave the word and I pulled both down in unison. I leveled out mere feet from the soil.
  
 “THAT WAS F***ING AMAZING!” 

A moment later, I hit, stumbling forward a step onto my knees. The landing wasn’t hard at all, like stepping off a bus; it was the sudden reacquaintance with gravity, which caused the misstep—more of a surprise, really. I renewed my chorus—albeit understandably altered—of “THAT WAS F***ING AMAZING!” My heart was thumping liking the drum machine in a disco tune, threatening to burst from my chest with every excited beat. The Skydive Lebanon personnel appeared in an instant. I was fine—there was no reason for them to think otherwise—but it was nice to see them so professional in the care they displayed for their charges. One held a video-recorder, which had been filming my entire jump from my plane departure to touchdown, including every excited epithet.

My one regret of the experience was hurrying off. I didn’t even see the video—something the crew and jumpers share at the end of each skydive session—never mind purchase it for posterity. Now that I’d successfully performed the greatest thrill of my life, I felt it prudent to get home to let my mom, at least, know I wouldn’t be returning to her through the mail slot. Hell, the company offered additional jumps at a special price, and I would love to have taken advantage, but I didn’t want to press my luck. And no, I didn’t have a cell phone with which to alert my mother of my survival—they didn’t exist.

 The incredible artwork for this Aliens poster is by my insanely talented friend, Den Beauvais 

As it happened, she hadn’t come home, yet, and I was still so hopped up on chemicals my endocrine system hadn’t released since I lost my virginity, I couldn’t stand still, never mind retire for the evening. I moved through the house like a caged animal, wondering what to do with myself. My salvation came in the form of a phone call. I leapt upon the device, answering it before the finality of the first ring. It was my friend Peter, who had just returned from seeing Aliens, which had opened that day. He was as similarly charged and itchin’ to tell someone about the movie, as I was to relate my skydiving experience.

Enthusing about the best of the quartet of Alien movies proved unfulfilling. He wasn’t yet ready to let it go, and suggested we go to the midnight screening. I was in the car and heading to pick him up before you could say…

 “Get away from her, you bitch!” 

 So much for letting my mom know I was okay.

It was just the diversion I needed. The movie was amazing, and although my awe of Aliens now mingled with the residual effects of the jump, the duality of both experiences seem to lessen the impact of each. A heightened equilibrium replaced the nigh-paralyzing thrill of the first. Not that I was ready for bed. A Grand-Slam Breakfast run at Denny’s was in order.

I didn’t get home until the early morning hours. The lights were off and Mom was asleep. I soon followed her lead, exhaustion finally overtaking me. Some time later, I discerned the faint glow of the bathroom light as my mom shuffled to the toilet. As the house returned to darkness I thought I heard her enter my room. Her hand making its way across the blankets along the baseboard confirmed my suspicions. When she got to my leg, she took but a moment to lightly squeeze it in reassurance. There was an audible sigh of relief before she stumbled back to her room.

Where was that bold adventurer of yore? I asked myself as I donned the red-and-blue for another gig, spun from the fertile marketing mind of Eric, the Canadian wunderkind, who’d engineered the successful custom Spider-Man comic promotion of the early 90s (see “Northern Exposure”). I’d been filled with the sort of dread that greets a high schooler when informed of a semester’s final exam schedule ever since Eric had chimed, “I have you bungee-jumping this afternoon at the Canadian National Exhibition (CNE),” after my flight touched down in Toronto. Had I grown so old and cynical in the scant seven years since I foolishly rushed to leap from a plane?

 The Canadian National Exhibition in Toronto 

Dating back to 1879, the CNE comprises approximately 192 acres, situated along the shore of Lake Ontario directly west of downtown Toronto. The venue is home to more than a hundred annual events, trade and consumer shows (Think World’s Fair Pavilion). At the time of my visit, an Australian bungee-jumping outfit had rented space in the area. The extreme activity seemed just the sort of thing for Eric to continue the hype of his popular Spider-Man custom-comic program, which, in conjunction with The Canadian Association of Chiefs of Police and such high-powered sponsors as Proctor & Gamble, had already distributed millions of comics across the country. This particular event wouldn’t be tied to generating publicity for the release of the new book in the proposed ten-comic series, but rather maintaining the excitement of the promotion as a whole.

Spidey shows Canadian P&G president how he uses the company’s hair-care products 

I’d been Eric’s go-to Spidey since the campaign’s genesis and had already racked up thousands of miles across Canada in promoting it, including a whirlwind coast-to-coast press tour (see “Northern Exposure”) and an appearance at a Blue Jays game, where I threw out the ceremonial first pitch (see “How Can They Lay Off Pitches That Close”). It had gotten to the point where the master marketer simply called Marvel with nothing more than a date, and the gig was a go and I was the Man. No other Web-Slinger would do.

Eric’s request (read: demand) superseded any other job for which Marvel might’ve needed or wanted me. I’d missed out on joining a cadre of colleagues to appear at the New York Stock Exchange when Marvel Entertainment went public and another time taking part in a character falderal at Ron Perelman’s birthday party on the grounds of his palatial estate in Miami, because of conflicting events with Eric. But also I was working when other actors were not, traveled throughout Canada, got to do some amazing, crazy-ass shit and developed one of my dearest friendships gigging for him.

“You want me to what? From up there?!!”

So it wasn’t unusual for the Director of Personal Appearances, Alison, to be clueless about Eric’s intention to have Marvel’s most important property risking its life in Toronto. I don’t recall what made me more nervous: bungee jumping or doing so without clearing it with Alison/Marvel beforehand. I certainly didn’t want my tights confiscated for corporate misconduct. Plus, it gave me the perfect excuse to bow out of the stunt without culpability.

Alison was as ignorant as I about Eric’s intentions. But when it came down to rendering a verdict, she neither condoned nor condemned the act. “I expect you to do whatever you think is best for the character,” was her final ruling.

Isn’t that just f***ing great?!! Backing out would most assuredly look bad and prove fertile fodder for the merciless media. But were anything to go wrong… Brrr… I didn’t want to think about how that might damage the character, not to mention little ole me!

Eric was equally noncommittal, also foisting the onus of the decision onto my shoulders. Passive aggressive machinations were the last thing I needed. Understand Marvel’s concerns about the possible tragic consequences of the stunt and cancel it. Or rant and rave about how much work you’d put into the event; how the negative publicity from aborting would disgrace and do irreparable harm to the program. Just don’t give me your best Eeyore, despondently acceding to whatever my judgment may be!

I decided to do the deed; no spoiler warning required. This posting would be a colossal waste of time had I turned tail and swung back to the airport my webbing between my knees. The negative feedback of the press and resultant harm to the campaign combined with the damage to Eric’s reputation and my desire to do right by my buddy overrode the remote odds of my—Spider-Man—falling to my—his—doom.

 “Spider-Man? Yeah, that’s it. I'm Spider-Man... And my wife is Morgan Fairchild... uh, I mean, Mary-Jane Watson Parker...”

Now I was really nervous! I don’t think the fact that I was hurling myself from a metal cage, hoisted fifty feet in the air by a crane over a giant airbag situated underneath on the cement walkway of the exhibition grounds helped. The height was easy for my mind to fathom; this wouldn’t be like hurling myself from a plane 10,000 feet in the air. But as the stalwart idol of millions who’d saved the world once or thrice and battled the likes of Thanos and Dr. Doom, I wasn’t allowed to display my trepidation. I had to remain my flippant, irreverent, laugh-in-the-face-of-danger, Web-Slinging self. Which became increasingly more difficult the closer I got to launch.

 Worst match.com date… ever! 

I signed a release form, but can’t remember whether I put my real name, Peter Parker’s or Spider-Man’s. I would never reveal the former, so it had to be either of the latter; yet the crew proceeded with the jump nonetheless. At least my loved ones could sue the pants off the company once they identified the smear on the concrete. There was a slight delay when they had to adjust the bungee after weighing me in. The pros had double-guessed the answer I’d given, only to be proven wrong in their assessment of my honesty.

 “I have got to cut down on the flies!” 

The aforementioned flippant part was easy. I truly understood the character’s incessant nattering whilst facing danger. I was a blathering idiot, taking it out on the young woman manning the check-in table and the bungee boys securing the canvas leg manacles with which the elastic cord would be attached. I spewed pop culture references like a preemie on Epicac, paying homage to Cool Hand Luke and quoting Bob Euker.

Once the cage started its ascent, my breakdown worsened exponentially with every yard. I was fast approaching Martin Sheen’s Captain Kurtz in Apocalypse Now. I actually broke character—I never break character!—alluding to my mom and revealing Spidey’s relationship with Mary-Jane, an egregious faux pas. Fortunately, the videographer worked for Eric and I’d be getting the only copy.

The bungee company had a mantra, too, only theirs was one keyed for take off not after. Nor do they give the client time to think once the cage is in place. At least I retained enough sense to realize I was an addled mess and thus review the procedure. It also helped me focus and diverted my attention just long enough from envisioning the fall to actually going through with it

 “Aaaaaaaaaaaaaaaaaaaaaahhhhhhh…!” 

“Three… Two… One… Bungee…!” With that I was off. I planned the high-pitched scream beforehand. If he were to take part in such an inane stunt, Spider-Man would be as unfazed as a sea lion diving into the icy waters of the Arctic. Screaming? Hah! He’d be yawning! But I wanted to make it good for the crowd, so I took a deep breath and let out a blood-curdling, banshee yell as I propelled myself from the hanging metal deck. The wail also eased my jitters. It was my plan (PLANNING = COGNITIVE THINKING ≠ HYSTERIA = RESULT). And my admiring throngs loved it.

As for me, the experience was no way near that of skydiving. Yes, endorphins were released, but in comparison it was the difference between firing a bullet and throwing one. I’d parachute again in a heartbeat. Bungee jumping? Been there; done that…

A few weeks later, I was speaking with Eric and he revealed that the Australian bungee jumping outfit stole away one night without paying the business fees they owed the CNE. Looks like a job for Bungee-Ma— er, I mean, Spider-Man!

Thursday, August 2, 2012

Mine's Bigger

MAD artist and Groo the Wanderer creator Sergio Aragonés 

It was apparent by the way he was struggling to rise and steady himself with a cane that he was in a great deal of discomfort. But as I rushed to his side to help with a concerned “Are you okay; what happened?” escaping my throat, he was quick to explain.

“Nothing serious. I had an operation on my back…” And then he gave me a mischievous grin and a sideways glance, his eyes atwinkle. “I was playing Spider-Man and swung into a building!”

That’s when I knew the world-famous cartoonist of Mad magazine fame was going to be all right. I was attending this year’s San Diego Comic-Con International in my occasional role as exhibitor for Fanfare/Ponent Mon, UK-based publisher of translated graphic novels. It was Wednesday, Preview Night, and I—having little interest spending the first night of the greatest show on earth (with apologies to Ringling Brothers and Barnum & Baily) in line to drop a fortune on an exclusive Jar-Jar Binks cookie jar, Willie Lumpkin action figure (his ears wiggle!) or Steuben glass vial of Stephenie Meyer’s drool—forded the crowds to the Small Press area where Aragonés has set up shop for decades.


To my delighted surprise, the playful Spaniard was signing an “Artist’s Edition” of Groo the Wanderer. Introduced by publisher IDW in 2010, these tomes, measuring an impressive 12 x 17 inches, feature the art form’s most distinguished comics at their rawest, each page scanned directly from the penciled and inked pages and including all corrections, blue-pencil lines, paste-overs and such. They’re like having a complete book of original comic art. The inaugural volume, “Dave Steven’s The Rocketeer,” celebrated the late artist’s signature creation and won an Eisner Award. Later editions spotlighted John Romita’s Spider-Man, Walt Simonson’s Thor and Wally Wood’s EC work.

I was unaware of IDW’s new crop, but pleased to see the comic-book equivalent of a Blue Ray Director’s Cut was going strong and downright giddy to see my ole buddy Aragonés so honored. He is probably the most known unknown cartoonist on the planet, whose risible renderings have delighted generations. Anyone who’s ever picked up an issue of MAD magazine has seen the mustachioed maestro’s work.

My introduction to MAD came in the early 70s by way of a young man who worked for my father at his ice-cream stand. Not knowing what to do with the towering—to a wee lad of ten it was staggering—stack of the satirical serials messing up his room, he gave them to me (OMG!!!). As I vociferously pored over the volumes, I couldn’t help but be chagrined by their state. Even then, a ding on the corner of a book kept me up at nights. You’ll be happy to know I’ve learned to control my idiosyncratic penchant for publishing perfection and have been able to live a full, happy life despite the occasional smudge on a page or tear on a cover (eye begins to twitch uncontrollably).

Anyway, what I mistakenly tried to brush away as dirt in the gutters of the pages turned out to be wee witticisms; cartoons created by Aragonés. And they were hysterical, not simply endearing because they were minuscule, the way some things are, like Chihuahuas. I mean, seriously people, they look like the sodomitic result of Marty Feldman and a rat. And please don’t be sending “Chihuahua Council” after me. I love the dainty doggies; they’re cute (ahem).

Since 1963, Aragonés’s “marginals”—those teeny, tiny ticklers, abounding the edges and betwixt the borders of the parody-packed periodical—have graced every issue except one, due to the misplacing of that month’s submission by the postal service. The enjoyment of reading them is only matched by fun in searching for them; it’s like a treasure hunt. And if the dozen or so Lilliputian laughers per volume weren’t enough, the artist’s monthly segment, “A Mad Look at…,” which skewered the pop-culture trends of the day in single panel and sequential strips, always delighted.

From Sergio’s “A Mad look at Spider-Man”

Not long after my initiation into MAD’s fraternal order of frivolity, I discovered the first issue of PLOP! at a pharmacy, back when the establishments featured a soda fountain where one could purchase such delectable offerings as Lime Rickeys and root beer floats with real seltzer, not that bottled crap. I hadn’t yet been bitten by the superhero bug. My comic purchases to that point were of the funny animal, Harvey Comics—Hot Stuff, Spooky, Richie Rich—variety. My mania for MAD showed I had a penchant for parody, which extended to Alfred E. Newman’s bastard children Cracked, Sick and Crazy. So the explosion of my brain upon perusing PLOP! should not have been a surprise.

PLOP! was a DC Comic of “weird humor,” as stated in its marquis, but it was like nothing I had seen before. For one thing, the cover featured a single image, a grotesque mockery of humanity designed by the singular artist, Basil Wolverton. The aberration’s name, with short description, accompanied each. The debut spotlighted “‘Arms’ Armstrong” and read as follows: “‘Arms’ Armstrong has divulged to a PLOP reporter that he was forty years old before he realized that his arms were outgrowing his legs. ‘I’m proud to say that I have never had either broken pins or arch trouble,’ he added.”

Surrounding the cover grotesquerie was an ivory border of pure Aragonés mayhem, a “Where’s Waldo” of the Spaniard’s signature silliness. The artist’s work also served for the framing sequence of the cartoons and comics therein, a buffet of the bizarre, off-beat and chilling, by a variegated assemblage of the genre’s best. The final story of the inaugural issue, “The Gourmet,” written by Steve Skeates and drawn by Bernie Wrightson—wherein an obese, slobbering gourmand of the Mr. Creosote type gets comeuppance for his fondness for frogs’ legs—still gives me the creeps.


By the time PLOP! was canceled in 1976 after 24 issues, I was a true Aragonés adherent. So in 1981, when I espied his work in the back of Destroyer Duck #1 after a five-year fallow period of his genius in funny books, I was agog. Published by the late-but-still-sorely-missed Eclipse Comics, Destroyer Duck was a parody of Marvel’s Howard the Duck. It, too, was created by the late Steve Gerber as a means to help defray the litigation costs of suing the comics giant for ownership of the latter fowl. The four-page back-up feature by Aragonés introduced Groo the Wanderer, and I’ve been a fan of the character ever since.

Groo was Conan the Barbarian by way of Jerry Lewis, a stout-hearted misanthope, whose enthusiasm for joining a fray is only matched by his ineptitude and stupidity. The loveable brute is a walking disaster waiting to happen. At least, that is to what he quickly evolved—or perhaps devolved is more apropos. Initially, Groo was no less a heroic barbarian than his inspiration. It was the outcome of his attempts that proved his undoing. The aforementioned inaugural 4-page foray, for example, has Groo valiantly confront a monstrous giant in order to save a damsel. He succeeds in gutting the beast only to watch in horror as the dying behemoth crushes the fair maiden upon its collapse.

Aragonés created his bumbling barbarian in the 70s, but there were no avenues to publish the character and still retain the rights at the time, so Groo languished in the artist's files until the 80s and the advent of such creator-friendly comic book publishers as Pacific and First

The wayward Wanderer’s misfortunes seemed to haunt the title’s publishing schedule, as well. In 1982, Pacific Comics launched Groo as series, but after a mere eight issues, the company shuttered its doors. A one-shot special, collecting the completed work that had yet to see the light of day, was released by Eclipse in 1984. Luckily, Aragonés found a home for Groo a year later, signing a deal with Marvel’s Epic imprint, where the bumbling barbarian found his stride, cementing his anemic cerebral activity and obsession with cheese dip. The title ran for an impressive 120 issues before moving to Image Comics in 1994. Dark Horse picked up the baton in 1998 and has published Groo’s exploits on and off ever since.

I’d first met Aragonés in Edmonton, Canada, at the third comic book convention staged by husband-and-wife team, Darwin and Lola (see “Survival of the Fittest,” Parts I and II). Their previous two funny-book festivals, which respectively featured notable Spidey artist of yore and Spawn progenitor, Todd McFarlane, and equally renowned former X-Men artist and WildCATS creator, Jim Lee; and Marvel Universe über-architect Stan Lee and legendary Hulk and Not Brand Ecch! artist Marie Severin; were resounding successes, and this sequel promised to top even those stupifying shows with a slate that included pioneering S.H.I.E.L.D. delineator Jim Steranko and Aragonés, among others.
Your nattering narrator speaking with Marie Severin as I perch between Stan Lee and artist Paul Ryan

As my Faithful Bloglodytes may recall from my “Football Hero” post of the Paleolithic Era, my first published work as a writer appeared in 1990 in Marvel Age #96, a one-page article, which would serve as a predecessor for Heroes In My Closet. In it, I reminisce about my exploits as Spider-Man, including my 1988 appearance at the first Darwin and Lola extravaganza, where I met the aforementioned Todd McFarlane. In fact, the photo of Yours Truly and Monsieur McFarlane accompanying the piece was taken at that show. Aragonés provided the cover for the ’zine, which also featured a Groo article. So it seemed fitting that my initial encounter with the world-famous cartoonist occur at the crazy couple’s con two years later.

Long overdue big thanks to Faithful Bloglodyte Steven Gettis who sent me this pick of my signing at the Edmonton Convention (circa 1989) more than a year ago. 

In what had become a tradition at the Luxford’s funny-book fests—basically because there wasn’t anything else to do—the opening night of the show was devoted to a field trip to the Edmonton Mall, a massive Mecca of merchandise and merry-making. On my first jaunt to the Canadian Canaan of capitalism, I braved the facility’s indoor loop-de-loop rollercoaster, marveled at the water park, which included a man-made beach and wave machine, and scratched my head at the submarine ride that traverse the canal running through the concourse. Aragonés had heard of the mall and was most excited to see the “authentic Spanish Galleon” heralded in its marketing literature; not surprising for the native of Castellón, Spain.

 Please tell me that’s YOUR hand Lola!

I tagged along like Marley, nipping at the heels of one who’d brought immense joy to my life with his work. With the dark features and swarthy complexion traditional to his home-country, the hirsute Hispanic appeared as if he’d just stepped off the set of an Errol Flynn swashbuckling epic. Although I was taller by two inches, Aragonés’s six-foot frame and exuberant spirit overshadowed all, with a charismatic personality, warmth, and playfulness, which was far more huggable than imposing. I don’t believe I’ve met anyone who was more endearing.

I had no recollection of this nod to the Spanish Armada, but given the mall’s mind-boggling acreage and numerous wonders, an aircraft carrier could be easily overlooked. Aragonés had done his homework, which was impressive in an age a decade before the Internet, when the research tool of choice was the Encyclopedia Britannica and one had to pay a visit to a brick-and-mortar travel agency for such info. He walked with purpose, navigating the complex’s labyrinthine causeways as I strode beside him.

The artist’s obvious love of classic sailing vessels is no more exemplified in his character’s adventures. As certain as the sun arises in the East, any vessel Groo boards will sink. The Wanderer’s capsized whole fleets in complete ignorance of his doings until only after he’s gotten his own feet wet, and then he’s still scratching his head as to what happened. It is said you only hurt that which you love, and this adage is no truer than in the works of humorists.


“Mira esa fillette; yo comiendo pan aqua nada…” I uttered as a particularly attractive woman passed. By no means am I fluent in Spanish, as anyone with a passing knowledge of the language could attest from my bastardized spelling of the phrase above, which translated should read, “Look at the filets and here I am stuck with nothing but bread and water.” (I welcome corrections from any Spanish-savvy Bloglodytes in the audience) The saying was taught to me by a good friend, an émigré from Caraças, Venezuela, who was a fellow waiter at Tavern on the Green. He explained that it was a common lament in his country when a man espies a fetching female. The moment seemed right to test my usage of the maxim on an honest-to-goodness Spaniard.

“You speak Spanish,” Aragonés responded in surprise.

Result!

My facility in mastering the language would later be off-set, when Aragonés talked of his daughter who was starting a career in modeling. He pulled a picture from his wallet that would’ve made any Man of the Cloth rue his vows; a tall, curvaceous creature with sultry dark features held in abeyance by the signature Aragonés smile. As the cartoonist explained of his progeny’s plans to move to New York City in pursuit of her dream vocation, I casually remarked that she could crash at my place while she searched for a more permanent residence.

“I don’t think so,” Aragonés snorted with a smirk and a “what-do-you-think-I-was-born-yesterday?” type of look. The photo was quickly secreted back into his billfold.

Note to self: refrain from making lewd comments about women before discovering about a person’s knockout daughter. Yeah, like Aragonés would never have seen through my ruse otherwise!


The so-called “authentic Spanish Galleon” was about as authentic as “New-York-style bagels” outside of New York. And it didn’t take an expert to come to that conclusion. The fact that the boat was about the size of the S.S. Minnow was a clear giveaway. The ships in Disneyland’s “Pirates of the Caribbean” ride were more credible. Aragonés was visibly and audibly annoyed. “This is what they say is an ‘authentic Spanish Galleon?’” he grumbled before about-facing in disappointment. The instant lasted about as long as a heartbeat. Aragonés is not one to dwell on the negative, instead embracing the positive, finding wonder and excitement in every new thing he confronts regardless of how small. I half-expected him to abruptly stop and blurt, “Look, squirrel!” at any minute.


About a year later, I bumped into Aragonés again at the 1991 Mid-Ohio Con (see “I Slept With Stan Lee, Part I”) The Roger Price-produced annual comics cavalcade—one of the best in the country—was celebrating its first year away from the Mansfield, Ohio, fairgrounds. I couldn’t be happier. The hangar in which the shows transpired had all the ambience of the DMV and its cement floors were easily felt through the nigh-existent leather foot pads of my Spider-Man suit, freezing this itsy bitsy Spidey’s tootsies and stiffening my agility, so I moved like a Ray Harryhausen stop-motion dinosaur.

The new venue was the ballroom and anterooms of a hotel in nearby Columbus. The space was blessedly carpeted. I was so happy. Upon making my entrance I almost hit the floor and began squirming on my back the way some dogs greet their masters. Along with the new environs, RAP Productions—Price’s media company, which ran the conventions—also redirected its charitable efforts. The proceeds from the event’s customary art auction would now benefit Ronald McDonald House.

 Once again, Spider-Man would aid in this noble endeavor, assisting auctioneer Price as the Carol Merrill to his Monty Hall, presenting each item as it came up for bids. I had no qualms about being the event’s mobile easel. It was fun, gave me a opportunity to see everything up close, and allowed me a way to share in the excitement without losing my shirt… or webs, as it were. At least, that was the theory. I wasn’t exempt from partaking in the bidding if I so chose—my money was as good as the next person’s!

The yearly bidding bonanza was always a highlight of the show and featured lots from all the guests, whether pages of original comic book art or custom items created especially for the affair. Internationally-renowned “duck” artist, Don Rosa, painted a jaw-dropping Scrooge McDuck, with Donald and nephews Huey, Dewey and Louie, playing in a treasure-filled room of the sort one could envision Aladdin discovering his legendary lamp. I would have attempted to win this tour de force myself had I not been saving my shekels for another prize, one that would encompass both the thrill of an extraordinary piece of artwork with the unforgettable memory of watching its creation.

Upon the far side of stage left/audience right was erected an easel, on which was placed a huge sheet of Foam-Cor, measuring approximately 41 x 31 inches. At the auction’s start, Aragonés climbed to the stage to much ballyhooing by the attendees. With his back to the audience, he planted himself on the chair set before the awesome art board and was presented with a half dozen black Sharpies. The minute the first lot went up for bid, Aragonés put marker to matte. There wasn’t a moment’s hesitation, a period of taking in the canvas; Aragonés proceeded as he always does, as if his stream of consciousness and hand were one. No pauses; just drawing. It’s a remarkable thing to watch, the illustrative equivalent of a ballet. I often find myself agonizing over the construction of a single sentence. Aragonés’s ideas and manifestation thereof are just shy of instant.

Five minutes later...

Even while carrying out my duties, I watched the uncanny cartoonist create magic. And given my position to the left of Aragonés, a right-hander, I had the best seat in the house. The audience was none the wiser. And it’s not as if the audience couldn’t see the whites of my eyes. That’s all they could see. It was the pupils behind the whites of the Spider-Man costume’s occipital region they couldn’t make out, and they remained askance, watching the MAD illustrator most of the time. Heck, I’d have been able to keep my peepers closed and no one would’ve noticed… until I fell off the stage, that is.

Aragonés doing what he does best

Aragonés began in the board’s center, and immediately I recognized the prominent proboscis and googly eyes of Groo. It was soon evident that the witless Wanderer was in the midst of a fray, his dual swords afrenzy. I cheated over to where Aragonés was working. “You may as well sign that to me when you’re done,” I whispered.

“You want it signed to ‘Spider-Man’?” he replied with a devilish grin.

The Don Rose pièce de résistance came up for bid and was stolen for a mere $210! I bit my lip under the mask at the low-ball figure and silently tsk-tsked the attendees for not recognizing Rosa’s talent. Damn! If I’d had the slightest idea how much Sergio’s piece would go for, I might have tried to capture the duck masterwork myself as well as the grandiose Groo.

Aragonés, meanwhile, had exhausted one Sharpie, and was quickly heading toward his third, which he’d made ample use of before abruptly standing. “What should I do with these?” he asked, holding out the remaining Sharpies.

A dumbfounded Price held out his hand, taking the writing instruments from Aragonés as he stepped off the stage and headed back to the main floor and his booth, where a line of fans awaited him. There weren’t more than a couple dozen lots total, and Price worried that wouldn’t allow enough time, even for the quick-drawing cartoonist. But with a fair number of items still awaiting the auction block, Aragonés had completed his masterpiece. And what an eye-opener it was: Groo slicing, dicing and making julienne fries of a mass of miscreants—although knowing the brain-dead barbarian, they very well may have been innocents—accompanied by faithful dog Rufferto, taking a chunk out of one victim’s leg, and witnessed by series regulars witches Arba and Dakarba.

Finally, the last lot standing was Sergio’s Groo, which seemed appropriate since the character was often the only one still on his feet by the end of his stories! As the bidding progressed it quickly became apparent that my biggest opponent for the lot would be comic book writer Roger Stern. Soon we were in a bidding war. I love Stern’s work. I believe him to be one of the best Spider-Man scribes ever. I was also fortunate to know Stern, the person, through my frequent appearances at Mid-Ohio Con at which he was a beloved perennial guest; a sweet, unassuming man, whose stellar work is only matched by his humility. I would rather my rival for the Aragonés have been a complete stranger, someone I could resent had I lost the battle.


The bidding flew past the hundred-dollar mark; two hundred, then three. I wondered whose bank account would falter first, mine or Stern’s, as the price crept toward four hundred. But suddenly Stern blinked, hesitating just long enough for the gavel to land, making me the highest bidder. Price thanked everyone and the auction was officially over. I’d been in the suit for more than two hours and long overdue for a break. But instead I carried my new acquisition to Aragonés’s booth.

“You got it!” he enthused.

“I told you it was mine,” I asserted, before asking for his autograph.

Vroom! and Aragonés, San Diego Comic Con 2011

Aragonés deferred adding anything more to the art, on which he’d already bestowed his John Hancock. Instead, he created a fresh piece for me: Grew and Rufferto skulking through the jungle, tracking something. Behind them stands Spider-Man about to tap the mindless misanthrope on the back (And as soon as I find the piece, I will post it—UGH!). Curiosity eventually got the better of the artist and he inquired about the winning bid. He seemed nonplussed. I couldn’t determine from his reaction whether he was satisfied with the result or not. For me, $400 was a hearty chunk of my savings, but an expense I’ve never regretted.

So as I watched Aragonés sign the IDW tome exalting Groo, I couldn’t help but think of my own oversized artwork of The Wanderer, which the cartoonist had assured me was the largest work he’d ever done. Sure, The Artist’s Edition was impressive… but mine’s bigger!

Getting this home was NOT easy!