Suzanne Forbes, an expat New Yorker in Berlin. Made possible by the generous support of her Patrons. https://www.patreon.com/SuzanneForbes. Former DC Penciller for Star Trek, former courtroom artist, painting portraits and teaching drawing.
From the beginning it was clear that teen mutant Doug Ramsey and Warlock, a techno-organic being who was identified as “he” upon arrival on Earth, were in love.
Art from New Mutants #21 by Bill Sienkiewicz and Glynis Wein, one of the most charming scenes from a charmed run.
You don’t call just anybody your “selfsoulfriend”. Doug Ramsey, aka Cypher, was the local computer nerd – until he met an alien teen robot who lived on lifeglow and they were suddenly thisclose and loving it.
One of the most wonderful things about the X-Men and New Mutants for me as a queer kinky teen in the 80s was how casually gay and freaky everybody was.
Sure, it’s totally ok to be in a deep psychically linked relationship with your (assigned as) same-sex team-mate, even if they’re sort of a robot and from outer space! Or a werewolf!
It’s all good, and safe, inside the X-Mansion.
The safe harbor that those 80s stories represented for queer teens reverberates forward through time, to the young people who continue to discover them.
I myself was extraordinarily blessed to live with a mother whose radical acceptance of me and my freaky friends created an IRL safe harbor.
I was blessed enough, in the 80s, to have a mom who would take me and my girlfriend to brunch.
But most queer teens didn’t have that in the 80s, and so many still don’t have it today.
Especially for trans kids, Warlock’s total control of his physical form is an exhilarating notion. His gender was clearly only assigned as male because of the limited thinking of the era; to today’s non-binary kids it’s obvious ‘Lock is a they. In the age of tumblr (RIP) and AO3, Doug and Warlock as lovers are an arena of profoundlycreative and experimental sexual ideation.
I wanted to honor those young people who love these characters by the way Doug and ‘Lock are represented in my X-Men dollhouse. And also gently acknowledge what a funny, square little geek Doug was in the ’80s. He had a wholesome quality that really flared against the teleological darkness of characters like Illyana. And his hair was SO 80s!
Spidey in civvies action figure custom by Jacobs Toys
He’d used a Tom Holland Spider-Man head and a Lex Luthor body to create a Peter Parker in civilian clothes.
The recipe, as action figure customizers call it, was perfect for my version of Doug. (‘Lock, a Build-A-Figure released last year, was already perfect).
Doug should be in civvies, of course – his uselessness in the field was legend. I don’t know why they ever gave him a uniform!
And Tom Holland’s face has exactly, exactly the boyish handsomeness of Michael J. Fox and Matthew Broderick in the 80s. He sells the wide-eyed mischief and wonder of a teen with super-powers in the most incredible way. (I loved Homecoming! Gonna go see the next one next week!)
Well, actually I also filled in the peg-holes on the bottom of his shoes and gave them sneaker texture, also with Apoxie Sculpt, because he’d be sitting crosslegged and I am slightly a perfectionist 🙂 And I also covered hair and shirt with Matte Mod Podge and then sprayed them with Matte Acrylic Sealer, as I learned on this excellent customizing site, to protect the paint.
I hope this sweet pair of lovebirds pleases the folx who love Doug and Warlock, and love their queer, trans, geek-robot love.
You can read about how I came to know and love these characters, how they led to my career in comics, and my friendship with their creator, Chris Claremont, here.
There’s even a cameo by Bill Sienkiewicz in the Marvel hallways in 1986. But it’s not an easy read, be warned.
As soon as I was gonna have an action figure dollhouse, I needed New Mutants action figures, and particularly Rahne and Dani.
Because my emotional investment in these particular characters was so profound, they needed a safe home in the Valhalla of my dollhouse even more than the other avatars of story-people who helped me survive. I started accumulating parts to make the customs, like heads, almost as soon as I started collecting Marvel Legends scale figures. I have literally had the heads for Sam and Dani since at least 2003.
I got my first 6″ (dollhouse) scale action figure in 1999.
She was a DC Direct Death figure, a gift from a boy at work who liked me, and kept giving me terrific comics-related gifts, even though I was married. That Death figure released the lifelong lust for a dollhouse I’d managed to contain until age 32. I found out that action figures were being made in one-twelve scale, and it was the tipping point.
I could bear not having a dollhouse with dolls in it – but I couldn’t bear not having a dollhouse with super heroes in it.
I didn’t finish the dollhouse for a good fifteen years, but I started collecting super hero action figures like a fucking fiend right away.
1999 began the first heyday of 6″ scale action figures, the early days of ToyBiz Marvel Legends and DC Direct and McFarlane, plus LOTR figures and various other genre properties that were being done in 6″ scale.
It genuinely shocked me, the obscure characters that began appearing as the adult collector market developed. But I knew no-one would ever make New Mutants figures for adults, that was TOO obscure.*
It was incalculably thrilling to me to see the new X-Men figures released with the first film in 2000.
It was lying around the store as a joke object. Because it was so funny, so ludicrous that a character as fucked up as Wolverine, from a property as weird and obscure as the X-Men, could have been made into a plastic toy a child could buy in a regular toy store.
And because the idea that comic book readers would buy toys of their favorite characters was unimaginable.
I bought the first Wolverine action figure, though, and I still have mine, though his snap-on claws are lost.
Because it was hilarious and insane that this secret world of ours had extrojected itself into real space, but it was also magic.
I took my time getting my hands on these, because I was waiting to see what else might happen, and eventually the Jean figures started popping up individually on the secondary market.
I wound up paying at least thirty bucks for each of the three figures I bought, but they are so terrific, it’s hard to be upset.
The body for Dani was a Marvel Legends version of Kitty Pryde released in 2016. The sculpt was way too tall and lean for Kitty (though appropriately less bosomy) and perfect for Dani. I used the Jean Grey body (“buck” in action figure talk) for Rahne, Shan and Illyana. Illyana, insanely enough, was recently actually released as an action figure. Dani is just the right amount taller than the other girls. ‘Lock was remade in action figure form last year, and look how great he is!
By 2018, so many X-Men action figures had been released I needed to build a new dollhouse.
So I built a School for Gifted Youngsters, seen above. It was a huge effort that took about a year, but it’s 99% percent done. The kids, of course, are relaxing in the living room.
I made Rahne’s head from a resin dollhouse doll, sanded and resculpted with my beloved Apoxie Sculpt. Painting her teeny little face took me, a professional portrait artist, a total of over three working days. it was worth it to me because my emotional investment was vast. But… it was DERANGED.
Whatever they charge you is a bargain. The work involved in doing it yourself, even as a professional artist in a fully equipped craft space, is bananapants.
Where are the boys?? Doug is done, coming soon, and I’m working on Sam. I plan to use a Miles Morales head for Bobby, and they cost a mint, so I’m working on it.
I should probably say more about how I made them, and I will. But it was so emotionally wrenching to make them, and such a relief and mercy to be done and place them safely in the X-Mansion, that I’m done for now.
Enjoy these amazing gay teens in the safe harbor I have built them, as I slowly build a safe harbor for my own amazing gay teen self in the ship of my adult life.
*breaking news out of San Diego, July 19 2019: Hasbro is releasing a New Mutants Marvel Legends Dani Moonstar figure with Karma and Wolfsbane heads! But actually, I like mine better 🙂 Of course I’ll buy the Hasbro Dani Moonstar figure anyway! I totally want a furious badass version of Dani and a transitional Rahne action figure and a Shan with a headband!
They did, though they were stuck in the dark! The new action figure dollhouse isn’t quite finished yet, but it is through no fault of mine. Boy howdy, are dollhouse lights a pain in the ass. I was so thrilled about my decision to go with battery-operated miniature LEDS and external battery adapters, as detailed in this post. LEDs last forever, stay cool, and use so little power!
But I never considered that some battery powered dollhouse LED lights might not FIT the external adapters!
That’s right, some take smaller batteries, and some just have incompatible housings. So it turned out that some lights I ordered, and waited forever for the arrival of, were incompatible. And then I had to order more external housings, not because I needed more battery boxes – I think four is fine for the 20-odd lights – but because I need the adapter plates. Which don’t seem to be available anywhere, at least not yet.
This is why you NEVER USE A TRANSITIONAL TECHNOLOGY FOR A PERMANENT INSTALLATION!
You can see one of the adapter plates and the light fixture housing it sits in to the left, in the library. This one is for a tabletop lamp, which why it has a long cord and is loose in the room.
Another problem is that the adapter plates are reliant on a minuscule thread of live wire and a tiny dot of solder to make their connection, and can easily (especially in the process of ceiling installation) be twisted so the connection is broken. I got mad and took one apart, and I haven’t been able to get it to work again. I am fairly good at things like this – I used to rewire antique lamps I bought at Berkeley Flea Market – so I am really peeved. So peeved I’m gonna get a new soldering iron (I gave my old one to beloved friend-muse-Patron Monique Motil) and started reinforcing all the adapters I install from here on.
Which is…four of twenty-odd. Because the others are installed, and the carpet laid over them, and the door frames over that, and then the moldings. This system, which is the time-honored method of giving dollhouses a clean finish, means that the floor covers up your messy wires, the door frame goes in next so you know how much to cut the moldings on either side of it, and the moldings provide a clean edge where floor meets wall and cover any imperfections in floor-cutting. I made a diagram, above! It’s a great system, except when you’re dealing with wiring, because if something goes wrong with the wiring, you have to tear everything out.
I am not pleased, now that I have seen that fragile dab of solder my electricity hinges on.
I did this whole thing to avoid the fragility and propensity to failure of tape-wire dollhouse lighting, which is what the old house has. When I built the old house I learned to solder and soldered all the tapewire connections, because tapewire is notorious for failure when you use the system of brads it comes with. Anyway, tapewire is being deprecated in the States, where it’s much more commonly used than the round wire you see in the UK and Europe. Because of the LED lights coming in.
But nobody has designed a system for someone who wants to wire a whole house with battery LEDS and operate it from one switch.
YET. Never use a transitional technology for a permanent installation. Sigh. As you can see, the house is now mostly lit, but most of the light fixtures are cheap round placeholder lights. It seems I can only really get the compatible lights from Canada. And, the mail is so much worse than usual.
I normally order most of my dollhouse stuff from the UK, because we don’t have to pay duties (until March 29, and then who knows what the hell happens, Theresa May sure has no fucking idea). But ordering stuff from the UK four Sundays before Brexit, while DHL is even more fucked up than usual…well. It certainly does mean a lot of days stuck in mail jail, which is what we call it in Berlin when they say they’re bringing your package and you don’t dare leave the house cause if they leave it with a neighbor or a paketshop you’ll have no idea which one.
Lucky for me, folks visiting from the US are kind enough to bring me things 🙂 Among the things brought by friend & Patron Dan Shick after the holidays are the roof shingles, which I’ve been putting on. You can see them below, I love how they look!
Hopefully the light sich will get sorted out and finished soon!
Dollhouse planning drawings by Suzanne Forbes, Aug 30 2018
My first dollhouse became a kind of Valhalla, a safe haven for all the characters and stories I love. it is a large, unwieldy, fragile metaphor for healing, hope and closure.
I imagine the School for Gifted Youngsters will work in a similar way, but more specific. My feelings about the X-Men and The New Mutants are my strongest of all and there is a lot of processing happening within even starting this project.
Also, my first dollhouse took ten years to complete, so I must be out of my mind. But actually, not so much; I have a plan.
I knew from pretty early on in the construction of my first dollhouse, around 2000, that I would need a second dollhouse. I already had too many action figures, even then, and too many weird geek jokes and visual puns and obscure heart-wrenching vignettes to tell with them.
Plus, as more and more X-Men action figures were made, it became clear the X-Men and the New Mutants would need their own house.
As I searched for a second dollhouse over the last ten years, I knew I wanted it to look a certain way. More “mansion”, less Victorian curio. Designed to be front-opening and kept for display against a wall in the English “Dolls House” style rather than open in the back for play like an American “Dollhouse”.
And I wanted it to be a “quick-build” routed MDF style, for fuck’s sake, rather than the insanely laborious die-cut kits that are now almost completely replaced by slightly less laborious laser-cut kits.
I never want to do a die-cut kit again, though I’m glad that I did get the very last Cambridge Dollhouse available on the West Coast in 2000. (For some reason I was obsessively determined that the Cambridge was superior to the nearly identical Greenleaf Beacon Hill).
There’s an excellent explanation of the different types of dollhouse kits here on Mysterious Miniatures for anyone curious about the hell that is punching out and sanding hundreds of die-cut pieces from a stack of 1/8″ plywood sheets. You can also see lots of pictures and read more about the process of building my first house here.
Below, the far superior routed/sawn MDF pieces of my Gables Dolls House kit, primed and laid out yesterday.
The reason I pulled the trigger and bought my first dollhouse kit was that the model I had been eyeing suddenly disappeared from the tiny pool of online shops that existed then.
Windows for the new house primed and drying before painting.
Panicked, I called all over, looking for a Cambridge, and actually found one, the last one, at The Hobby Co. of San Francisco on Geary. I hauled the box home in triumph and terror, and spent the next three years just building the structure.
Of course, I “kitbashed” the hell out of it too, custom building the extension, rebuilding the dormers and adding new walls and high quality Houseworks wooden windows and doors.
To use routed wood doors and windows I had to reinforce all the interior and exterior walls individually, from 1/8″ to 3/8″, cutting all the pieces to size. Without power tools.
I had to learn to solder to use tape wire for the electrification, because it didn’t have grooves for round wire. It was insane, and I said “I am never doing this again”.
So I kept an eye out for a front-opening, high-quality, quick-build dollhouse that was also really cheap. For a decade.
During that time several models I liked went on and off the market. I didn’t have the wherewithal, on many levels, to acquire any of the models I liked. I finally completely finished the first house and added the landscaping, walls and greenhouse in Oakland around 2013, but I waited to secure it to its base because I knew we were leaving the US.
I knew if we moved to Europe I’d have access to a completely different dollhouse kit supply chain, the mother lode of front-opening English dollhouses. And when we did, I started researching and pinning and comparing all the houses available. I got my first house set up and truly finished here in 2015.
It had to fit a very specific space, and be a very specific style. After two years of research, I had pretty much settled on The Gables kit from The Dolls House Workshop, a family-run British company.
It was gorgeous, it fit the space next to the first house perfectly, it had big rooms, it had an entry hall, it had bay windows, it had an attic for Ororo, and it was the very epitome of quick-build, including channels routed for the goddam wiring.
Most of all, it was incredibly cheap for a heirloom dollhouse kit, only £209 when they can run to the thousands.
So I was thinking about it, but I am cheap and terrified of spending large sums, so I was hesitating.
Then it started disappearing from the four online sites I had it pinned from. Marked “Discontinued”, then “Permanently Discontinued”. It was still listed on the company’s own site, so after a week of nerve-wracking waiting til my Patreon money came in, I wildly took the plunge and ordered it. Two days of euphoric planning and excitement later, I got an email from DollsHouse Workshop.
They politely explained the kit had been discontinued some time ago and it shouldn’t have been on the site.
They would process me a refund. I was crushed and at a loss. I just didn’t know what to do next. None of their other models had the turned wood windows l love, were the right size, or even had grooves for the damn wiring. The other companies’ houses didn’t move me the same way.
After a couple of days of moping, I emailed the company to check on the refund, which hadn’t shown up. I mentioned that I was devastated, that I had really wanted that particular house. I don’t why I did, I guess I just figured it couldn’t hurt to share my truth!
Later that day, I got an email back from Kelly Wiltshire-Tokeley, co-director of the company, saying she had tracked one down and it would ship that week!
What an angel! Isn’t that amazing?
Oh joy! Oh happiness! The X-Men will have a home at last!
Seriously, this is such a big deal. And of course, such a big project.
Even a quick-build dollhouse is a huge DIY project, with many stages, many decisions, and many materials involved. First I did a dry build, to check for fit and parts.
Then I had to prime. The MDF walls had to be primed with a specialty MDF primer, and the turned wooden parts primed with a wood primer.
On the left you can see some of them! Our whole house smells like primer right now. The stairs will be stained with gel stain, which I’ve ordered.
I have all the paint ready for the exterior and have ordered all the wallpaper and carpets. Putting those in before actual final assembly will make a difference of at least a hundred hours’ labor between this house and the first house.
I will use modern battery powered LED lights and run a single wire through each room rather than tapewiring the whole thing.
Plus, this house has a perfectly simple rectilinear floor plan, rather than the incredibly complex layout of House #1. Which I think I will call SlurkCroft, from now on.
So I’m not making any promises or predictions, but I’m hopeful that the School for Gifted Youngsters will be open by Christmas.
This week the news broke that Maisie Williams has been cast as Rahne Sinclair in Josh Boone’s New Mutants movie.
With an early (perhaps the first) New Mutant cosplayer, NY Creation Con, Thanksgiving 1985
It had been rumored for a long time, and I had been hoping and praying.
I love Maisie infinitely because of her amazing journey as Arya Stark and her completely rad dignity and coolness growing up in the public eye. There is no one I’d rather see play one of the two characters most important in the world to me.
I feel like the story that matters more than any other to me is in safe hands with Josh Boone. After 33 years, the New Mutants will be on the big screen! Who on earth could have imagined this? Certainly not me, seventeen in 1984, when I read my first New Mutants comic.
Why did I read it?
My girlfriend asked me to bring her a comic book at boarding school.
New Mutants 18 cover by Chris Claremont and Bill Sienkiewicz
She was going to Simon’s Rock, an elite private school that was part of Bard College. I missed her terribly, so I took a bus from Port Authority to Great Barrington, Massachusetts to visit her.
P. had gotten into this comic book series, “The New Mutants”, and she desperately needed me to bring her the next issue.
I lived in Chelsea with my mom; I vaguely knew there was a comic book store up on 23rd st., so I walked up there. In the acrid smell of mouldering paper I asked the big unkempt man where “the new New Mutants” was to be found, and bought it.
As every student of comics knows, New Mutants #18 was one of the issues that broke open the history of comics.
It was part of the 1980s revolution in comic art and storytelling that would culminate in 1986’s Dark Knight and Swamp Thing and Moonshadow and Watchmen.
I had seen 1980s comics before, when my boyfriend Paul lived with me and my mom in the West Village when I was fifteen. He brought a duffel bag with Frank Miller Daredevils and the Byrne/Claremont X-Men run. But I didn’t read them, then; just looked at the covers. They were sealed up in slippery poly-bags.
Me and P., NYC 1984
So when I went to Simon’s Rock I packed the New Mutants comic in my suitcase along with my long skirts and my bottles. At Port Authority I was drinking Midori from the bottle, calling P. from a payphone, so excited.
On the bus I took out the comic book. I hadn’t brought anything else to read. I was planning to be a children’s book illustrator or a fashion illustrator back then, career-wise.
I had dropped out of Stuyvesant and was taking adult ed fashion drawing classes at Parsons, waiting to be old enough to be admitted to the BFA program in Illustration. I wasn’t especially excited about becoming a commercial artist; it was just a practical career choice given my drawing ability. Commercial artists had job security.
Most of my energy and ambition in my teens went to finding beautiful boys and seducing them.
P. was my dear friend and sometimes lover, the only girl I’ve ever truly been in love with.
She was brilliant, absurdly smart – we met at Stuyvesant when I was a junior and she was a freshman- and in terrible pain. It was just a few months after her first hospitalisation, that day in 1984 when I headed to Simon’s Rock.
She had been diagnosed as schizophrenic, like her father and brother. They were both well into lifetimes of Stelazine treatment and disability, and that was certainly what the medical establishment intended for her.
I loved her profoundly, intimately, with a depth entirely unlike my relationship with my boyfriends and whoever I was cheating on them with. She was shy, furious, poetic, inhibited, intensely loving. We only had sex when I pulled a boy for a threesome or she was really drunk or I’d given her some pills.
But we were always physically close, always touching. She was queer as fuck, but she didn’t have parents who were like, “being gay is totally normal”, the way I did.She lived in Staten Island with her crazily messed up family, so she spent days at a time in the city, at the safe haven of the apartment I shared with my mom. And then she got a scholarship to this fancy prep school program, and I went to visit her.
On the bus I opened the comic book, and I met Danielle and Rahne and Sam and Illyana and Kitty and a red-haired girl named Rachel.
Later, when my friendship with Chris Claremont was known in the comics community, people thought he’d named her after me. But I didn’t meet Chris til 1986.
You probably can’t imagine, in the 21st Century with a million YA novels about disenfranchised traumatized gifted outsider teens out there, in a post-Buffy pop culture world, what it felt like to read The New Mutants in 1984. It was like coming home to a sanctuary I had only seen in dreams.
I was an obsessive science fiction reader, but I connected with the ideas, not the characters. Larry Niven never wrote about anyone who was my age and full of pain. In the New Mutants and X-Men, Chris wrote about how wounded teens could be at a loss for how to navigate the world and find a bearing with their friends.
The story in #18 was disjointed, haunting, full of bad dreams and traumatized teens on the run.
Rachel’s confusion about the timeline felt like my mornings after a blackout. Dani’s night terrors matched my own. The ending was terrifying, dark as hell.
When P. picked me up at the bus stop the first thing she asked was if I had her comic. “What IS this??! What the hell IS this??” I babbled at her. She told me she and her new friend M. had just started reading it recently, but were obsessed. Ah, M.- I would have been so jealous of how P. loved her, if she hadn’t been so fucking cool and easy to love herself. We talked about the New Mutants a lot that weekend, the three of us.
When I got back to the city I went and bought all the New Mutants comics there were- all 18 of them- and that led me right into the X-Men comics.
Of which there were 184 issues, plus Annuals and a couple of cross-overs. Getting my hands on those was a project. The X-Men led me to the rest of Marvel, and then within a year I found the TItans and they led me to DC.
In the Fall of 1984 I drew cartoon versions of the New Mutants and the Hellions featuring P. and M. guesting as “Scallions”. (I have no idea why the idea of them being onions was funny, but for some reason it was at the time.) Then I started…drawing the New Mutants.
By Christmas I was making up pages with them. And I had decided that Rahne and Dani were definitely going to fall in love, even if the writer didn’t know it yet.
My mom, always completely supportive of my obsessions and ambitions, had gone to comic stores all over Manhattan with a list of X-Men back issues I needed.
There were stacks of comics under the tree along with all the science fiction paperbacks. I gleefully tore open the wrapping on each one, incredulous- “You found #146?? Ma!!!”
I never cared at all about their condition; I just wanted to read them and look at the art.
My older friends came home from college for the holidays and I showed them all my new comic drawings. All I could talk about was comics. All my letters had been about comics.
Someone said, “Hey, you should do this for a living”. “Somebody has to draw them, right?” someone else chimed in.
I actually have a photo of me from that night. I had enough life experience at seventeen to recognize a moment when the forces of the universe gather around you and give you a push.
I was reading a copy of Playboy my friend John gave me because it had Wendy O. Williams of the Plasmatics in it! That’s John and Donna above, looking at my sketchbook of comic art.
When I turned 18 in January and matriculated at Parsons my entire career and educational plan was laser-focused on becoming a comic book penciller.
Which was not a popular idea in art school, then. I was pretty much treated like a crazy person for wanting such a low-brow career. Mainstream awareness of comics was a year or two in the future, when Dark Knight broke.
The amazing woman who ran the Parsons Illustration Program, I think her name was Debra Diamond, was friends with Art Spiegelman and Gary Panter, and she was cool with the alternative comics in RAW.
But superhero comics were considered unbearably lame. Genre comics were just not something real artists talked about.
It was a job you did as punishment, when you couldn’t find something else in the world of illustration! When you couldn’t find something more remunerative and more dignified and less laborious.
Although my teachers thought i was crazy for wanting to do comics, they loved how hard I worked and how I could draw like hell.
I signed up for every figure drawing class available, with the toughest teachers, and took night classes from comics professionals around town. I found the comic artists I loved and followed their work obsessively; my longboxes were labelled and sorted by penciller, not book. José Luis García-López. Steve Rude. Gil Kane. Alan Davis. Paul Smith. John Romita and JRJR. It was a litany of men, but I was confident i could be as good.
I bought every book my teachers recommended and spent hundreds of hours studying Burne Hogarth and George Bridgman (Andrew Loomis was out of print in those days, and pages from his books photocopied from library books were passed around between comic artists like contraband).
I started out terrible and I got better fast. I studied perspective like a maniac. Even though I wanted to tell stories about superheroes in love, I expected to have to draw a lot of buildings. The Marvel Universe was based in New York, after all.
In 1985 and 1986 I was chipping, doing heroin only on the weekends, and during the week I just went to school and drew.
I threw myself into the work like a demon. I wanted to draw comics more than I had ever wanted anything in my life. I think wanting it so badly is a huge part of why I didn’t die in those years. So was the saving grace of the New Mutants, the X-Men and the Teen Titans.
Loving something the way I loved those comics, changes you, I’m convinced. It’s a source of strength.
Having my mom back my dream 100% mattered enormously – soon I had my huge drawing table and lightbox set up in the living room!
I was so lucky to be at Parsons, where traditional drawing skills were still valued and where technical perspective and anatomy were still taught.
Every month I was reading more comics – I came to love as many DC characters as Marvel, and even a few independents like Nexus. But the New Mutants were closest to my heart. In a Special Edition of the New Mutants Chris gave Danielle a (flying) horse, and I was like, great!! I can draw horses!
Then he had her attacked by drunk bros and nearly raped.
I was enraged, and I drunkenly sent Marvel a telegram to express my feelings.
I meticulously explained to the telegraph operator over the phone how to address it to the specific letter column group for the New Mutants, “Report Card”.
There were precious few women artists working in mainstream comics in 1985. Maybe even less than now.
Glynis Wein was the colorist on the New Mutants, and Cindy Martin had drawn Star Wars, as had Jan Duursema, who’d also done a variety of superheroes at DC. June Brigman had created Power Pack with Weezie. Mary Wilshire had done Red Sonja. Marie Severin was on Special Projects at Marvel, drawing Fraggle Rock and Muppet Babies for Star instead of superheroes. Trina Robbins was working for Marvel’s Star imprint too, drawing Misty, a grown-up Millie the Model. Wendy Pini and Colleen Doran were doing popular and much-loved independent work, but I wasn’t interested in creating my own characters or the tiny reach of the independents. I wanted to be in the big leagues, to work for one of what have always been called “The Big Two”.
In ’85 there were some women on the production and editorial side, Weezie and Ann Nocenti and Bobbie Chase and Jo Duffy and Carol Kalish at Marvel, Jenette Kahn and Karen Berger at DC. Cat Yronwode was editor in chief at Eclipse.
Heidi MacDonald had put Chris on blast in the Comics Journal, and would soon take on Alan Moore. She’s still fighting the good fight. But in 1985, wherever I went in New York, whatever comic store or con I went to, I was the only woman.
In 1986 things started to change for women in comics. Mary Wilshire did several issues of the New Mutants, after Bill left, then got the Firestar mini-series. Colleen Doran was on the Legion, as mainstream superhero as it gets, and had drawn a historic issue that delved into trans identity.
Lynn Varley colored Dark Knight. Ann and Weezie were writing superhero stories. Mindy Newell wrote a Lois Lane mini-series. Cat and Trina’s book, Women and the Comics, got mainstream press. Trina became the first woman to draw Wonder Woman.
And comics as an industry was exploding.
New comic stores were opening all over the country, some of them even clean. The mainstream press was starting to write about the writers and creators who were changing the industry.
Storylines were getting darker, wilder, more mature. No one had done a mainstream comic with queer people in it, but John Byrne had wiggled around Shooter’s prohibition on gay characters with Northstar, and I believed the time was coming when you could show young lesbian mutants in love.
Which I just kept drawing! There was no tumblr, no deviantart, no Ao3; as far as I know I was the only person drawing New Mutants slash art in the 80s.
In February 1986, at a Creation Con at the Roosevelt Hotel, I met Chris Claremont.
I was working at a booth for my friends Chris and Gary who had a comic store in the Meatpacking District. I was walking back to the ballroom in one of my Betsey Johnson bondage dresses.
I recognized the man sitting on the hallway floor writing in a stenographer’s notebook; I had seen his picture in the Comics Journal. It was during a period when his writing was being dragged hard in the comics press (all two of it), both for its excesses and its problematicness.
“Whatcha writing?” I asked him brusquely. “X-Men plot.” “Is it any good?”
He gazed up at me, unruffled. I sat down with him on the carpet. and told him I wanted his job. I was nineteen and like Jim Kirk I feared nothing. I razzed him about the bdsm references in the X-Men. I was pretty problematic myself in those days.
Chris was thirty-four, and we became not quite lovers but passionate friends. He believed in my work. He treated me as a person he believed could work in comics.
“I don’t think of you as a fan, I think of you as a nascent pro”, he said.
His huge apartment in Riverdale was such a refuge, such a heaven for me. He gave me stacks of X-Men and New Mutants scripts, Marvel paper to draw on, walked me around the Marvel offices, which were a short walk from my house. In the summer of 1986, hanging around Marvel in my flowered Fifties dresses, high on heroin, wearing Keds and with huge skateboarding bruises on my knees, I was a unicorn.
One time we sat in the hallway at Marvel with Bill Sienkiewicz and I taught Bill the basics for drawing a horse.
What a time, summer 1986. I had a new boyfriend, a serious artist, who loved comics as much as I did, and he was so supportive and excited for me.
He wasn’t jealous of Chris, or P.. He took the picture of P. and I below, and came in the car when my mom drove me up to Chris’s. Every week Rob and I went to the comic store and got all our new books and sat down to read them together. Swamp Thing was our most special shared passion and my mom would tease us about reading a comic with such a silly name.
Everything was in place, but that’s not how life always works.
With P., summer 1986
I didn’t get to draw the New Mutants for Chris.
That summer I went to San Diego Comic-Con for the first time, at Chris’s suggestion, and although Chris looked after me as much as he could, everything fell apart.
At the Marvel 25th Anniversary Ball I sat with Chris and Stan Lee and John Romita, and a young artist from Eclipse got drinks from the open bar for me after I was carded. I had never seen an open bar before; I had three Long Island Ice Teas lined up in front of me at that table.
Later, blind drunk, high on pills and coke someone had given me in the bathroom at Dave Sim’s party, I was violently, anally raped in my hotel room by an inker.
That Friday in New York my amazing boyfriend died of an overdose, though I didn’t find out til Sunday night.
I came back to New York out of my mind with fresh PTSD and whatever shot i had at keeping it together long enough to actually work in comics was gone. It wasn’t ever much of a shot, then; I had an appointment with an addict’s bottom and the timeline just got sped up a lot. Chris held me while I cried hysterically during a Christmas party that winter.
“Take a taxi”, he’d say, and I’d take a cab all the way up to his apartment in Riverdale and we’d sit on the floor talking X-Men while the cats paced around us. Things I said showed up in the book, thrilling me. He kept giving me scripts. But I lost touch with him and everyone else once I became a daily heroin user, a year or so later. P. was in trouble too, on disability, heavily medicated, experimenting with cults.
By the time I got sober, in January of 1989, Chris wasn’t writing the New Mutants anymore.
He left the book in 1987, and what it became was…nothing that meant anything to me. But I still wanted to work in comics, despite everything, even if it wasn’t on the New Mutants, even though the scene was changing fast.
It was a harrowing, exhausting process to break into the comic industry from St. Paul, where I’d gone to treatment, and stayed on the advice of the halfway house. I was constantly travelling to the cons and being constantly sexually harassed.
That hadn’t changed at all, from ’86 to ’90. It was horrible, and some of the editors were fucking pigs.
The first Marvel editor who gave me a sample script mailed it with a letter on Marvel letterhead. The script opened with a splash page of a dead girl, and the letter commented explicitly on my physical appearance. Another (married!) editor asked me, in front of the San Diego Marriott, if he could masturbate in front of me.
There were so many more women around, though, and women were getting work as the full-time pencillers on monthly books. More comics were being published and sold than anyone had ever thought possible. I met people who helped me, people who backed me.
Rest in power, Kim Yale!!
There were men around who were clearly, obviously committed to helping women get work. Virtual hugs, Rob Simpson! I met a woman writer, Sarah Byam, and we became friends. I met a woman inker named Pam Eklund! I met Jill Thompson, who had Dave the Thune painted on her leather jacket! I never, ever considered giving up.
It took three more years, before an editor gave me a chance. In 1993 a woman editor, Margaret Clark, hired me to draw Star Trek The Next Generation #72.
And then a TNG Annual, and then the prize of prizes for a comic artist: the regular penciller gig on a regular monthly book, Star Trek The Original Series.
I did an issue that was inked by Pam Eklund, at my suggestion; it may still be the only mainstream comic ever pencilled, inked and edited by women.
In 1995 Chris had been doing some work for DC and we sat together at the DC table at the Chicago Comic-Con, signing comics, our faces blown up huge on a wall of monitors. It was good to see him.
And I was a pro, just as he promised me, just as I promised P.
Not very many people get to have their life’s ambition come true when they’re only 26.
Even now, less than twenty women have ever been full-time monthly pencillers for an ongoing book at one of the Big Two. I’m proud to be one of them.
Sadly, what safety there is for women is mostly the ability to name and share the names of bad actors in the system and protect themselves pro-actively.
But things have gotten a little better for queer and trans visibility in the stories themselves.
Shan, Karma of the New Mutants, is canonically a lesbian and even crushed on Kitty!* Northstar married his boyfriend in the X-Men! When DC refused to let Batwoman marry her longtime girlfriend, the creative team walked. Wonder Woman and John Constantine are canonically bisexual, at least right now. Iceman is gay! The new Aqualad is gay! And that’s just the beginning.
The comics I imagined, where teenage mutant girls can love happily even if the rest of their world is insane, seem within reach. If creators can just keep fighting the toxic forces around them and their own demons to tell those stories. I couldn’t; I had to leave comics. Today, drawing real people is the best way for me to tell stories. Teaching drawing is the best way to honor my teachers and the work I put in to become a comic artist.
But today, at least I can tell my story, and the story of how much I loved superhero comics. How they saved me.
How much I loved the New Mutants, in the 80s.
* Here‘s a beautiful piece about queer-girl subtext in the X-Men and New Mutants by Sigrid Ellis. In it I learned that in 2002 Chris wrote a series called Mechanix, where Kitty actually comes out as bisexual!