An average, ‘nuclear’ family moves to a small town in the Midwest, which turns out to be mind-numbingly strange… a fact entirely lost on the clueless parental units. Sound familiar?
It’s obvious, given the time frame (five years late), that Gross Point was, to be charitable, keenly influenced by the television show Eerie, Indiana (1991-92)… whose short run (just one season and a mere nineteen episodes… plus fifteen novels!) belies its lasting appeal and influence.
But, and there’s a sizeable ‘but’… both series provide considerable, often subversive entertainment, and come from a long line of high-concept, cœlacanth-out-of-aqua sagas. You might say that Gross Point stands as a darker, yet goofier Eerie, Indiana. Incredibly, it was still approved by the clearly-agonizing, utterly irrelevant Comics Code Authority!
The facetious small print:
Gross Point is a fictitious town, not to be confused with that differently-spelled one in Michigan. The magazine Gross Point is a work of satire. The stories, characters and incidents mentioned in this magazine are entirely fictional. No resemblance to actual persons, living or dead, or comatose, deformed, deranged, disfigured, dismembered, disembodied, discarnate, decaying, reincarnated, undead, immortal, reanimated, telepathic, pyritic, telekinetic, magical, transformed, trans-channelled, enchanted, cursed, possessed, monstrous, cannibalistic, demonic, vampiric, reptilian, lycanthropic, subterranean, mummified, extra-terrestrial, or interdimensionally-stranded, is intended or implied, or should be inferred. Any similarity to same without satiric purpose is coincidental.
In Issue two, we are told that:
Gross Point differs from most new DC titles in recent memory in that it was internally created. The concept from the series was the brainchild of the internal development program of the Special Projects Group, headed by Group Editor Martin Pasko [ né Jean-Claude Rochefort, in Montréal, QC ], who is also this title’s editorial overseer.
In other words, Created by committee, which accounts for the utter lack of originality… which is yet no impediment to its ultimate worth.
However, and a big However it is, some savvy, enlightened creative moves were made, most of all by recruiting stupendous penciller/inker Langridge, as well as Sean ‘S.M’ Taggart (perhaps a bit of nepotism, what with him married to a DC editor, but never mind, he’s good) and writers Dan Slott and Matt Wayne, among others.
The series lasted a not-too-shabby fourteen issues, which you can still get your calloused mitts on dirt cheap online and in the quarter bins, as it’s never been collected. I daresay it might have been a smash hit… if, say, Scholastic had published it.
Well, that wraps up another year’s selection! If you’re craving more, then the 93 entries of the previous trio of Hallowe’en Countdowns are (un)naturally at your disposal.
« Be silent in that solitude which is not loneliness — for then the spirits of the dead who stood in life before thee are again in death around thee — and their will shall then overshadow thee: be still. »
— Edgar Allan Poe (1829)
It was on this day, two hundred and ten years ago, that the great writer, poet and posthumous master of all media Edgar Poe (Jan. 19, 1809 – Oct. 7, 1849) was born in Boston, Massachusetts. I’ll spare you the usual biographical details, widely available elsewhere, and we’ll concentrate on his unflagging ubiquity in the medium of comics.
Classics Illustrated publisher Gilberton was first out of the gate with Poe adaptations, at first tentatively with a pair of poems (Annabel Lee, then The Bells)**, then more substantially with The Murders in the Rue Morgue, in Classic Comicsno. 21 – 3 Famous Mysteries (July, 1944), sharing the stage with Arthur Conan Doyle and Guy de Maupassant. Read it here. Pictured below is Classics Illustratedno. 84 (June 1951, Gilberton), cover by Alex A. Blum. Read the issue here.
And now… for a bit of levity: a few favourite MAD covers.
I’ll start with this by-now-iconic cover, that’s nevertheless worth posting (with proper attribution to artists involved and in high enough resolution to admire the details, two characteristics sadly often absent from stuff posted online). You’ll note I’ve skipped over the first couple of Harvey Kurtzman covers (MAD nos. 1, 3 and 4) – which are amazing but a topic for another conversation.
And it’s back to Kurtzman for covers of MAD nos. 6 to 10. Then I’ll disregard the somewhat boring covers, and jump over the Norman Mingo ones, and that brings us to… Frank Kelly Freas! It shall quickly become apparent that I really like his art (guilty as charged). Having started his career at Mad in February 1957, by July 1958 he was the magazine’s official cover artist (his first was MAD no. 40), and painted most of its covers until October 1962.
And to wrap this post up… a lithograph from the cover of More Trash from MAD no. 1 (1958).
“Only three of these lithographs were ever published before the production was stopped as a violation of the MAD copyright. The other two are currently in private major MAD Magazine collections. This is the only lithograph done by Kelly Freas of one of his MAD book covers.”
For more (not necessarily MAD-related) FKF, go here.