by Mike Rhode

Baltimore Comic-Con is one of the best and friendliest of the mid-size superhero focused cons. Under the leadership of Marc Nathan and Brad Tree, it's grown quite a bit in a decade and a half, but still remains enjoyable for all ages and interests. Hang Dai Studios is based in Brooklyn, but as usual will have a big presence at Baltimore. My friend Dean Haspiel (and Hang Dai Studios founder) will be there with the whole studio, a week after he, Christa Cassano and Gregory Benton attended the Small Press Expo. We hope to have interviews with everyone in the studio throughout the week. Our fifth interview is with Dean Haspiel.

Where did "Hang Dai" come from? 

 "Hang Dai" was derived from HBO's "Deadwood." Whenever Al Swearengen and Mr. Wu would curse their way through a private deal and come to an agreement, Wu would cross his fingers and say "Hang Dai." Or, something that sounded like that and which meant "Brotherhood." Or, as my studio mate Christa Cassano likes to say, "Sisterhood."

What type of comic work or cartooning do you do?

I hopscotch between superhero and memoir and psychedelic romance comix. My recent effort is called Beef With Tomato, co-published by Alternative Comics and Hang Dai Editions. It's about my escape from Manhattan to Brooklyn.

How do you do it? Traditional pen and ink, computer or a combination?

Blue pencil, occasional brush pen and Micron pens + digital shading/coloring.

When (within a decade is fine) and where were you born?

1967. New York Hospital.

What is your training and/or education in cartooning?

The comic book rack on the newsstand at the corner of 79th street and Broadway in NYC was my comix kindergarten. Later on I discovered a steady flow of pop art pulp treasures at West Side Comics, opened a weekly account at Funny Business, and discovered American Splendor and Yummy Fur at Soho Zat. After that, any inklings of pursuing a normal life went out the window when dreams of drawing comix for a living took over and held my sway. I never learned how to draw comix in school because school didn't teach comix. School shunned comix. Comix taught me how to make comix. And, I'm still learning how, one panel at a time.

Who are your influences?

Ron Wilson, Jim Aparo, Jack Kirby, C.C. Beck, John Byrne, Steve Ditko, Alex Toth, Will Eisner, Frank Robbins, Jim Starlin, Michael Golden, Howard Chaykin, Walter Simonson, Bill Sienkiewicz, Mike Zeck, Frank Miller, Katsuhiro Otomo, John Romita Jr., Frank Quitely, Goran Parlov, Darwyn Cooke, Marcos Martin, Chris Samnee, Gregory Benton, Josh Bayer, Stan Lee, Warren Ellis, Jason Aaron, Brian K Vaughan, Joe R. Lansdale, Jonathan Ames, Mickey Spillane, and Richard S. Prather.

If you could, what in your career would you do-over or change?

The Thing: Night Falls On Yancy Street. I wasn't ready. I would ask to change the dark ending, too, so me and Evan Dorkin could make it Marvel canon rather than Marvel folklore.

What work are you best-known for?

I believe I'm best known for my collaboration with Harvey Pekar on The Quitter. Possibly, the ten-issues of The Fox I recently co-wrote and drew for Archie Comics. Maybe, some Billy Dogma.

What work are you most proud of?

Billy Dogma in Fear, My Dear. And, Heart-Shaped Hole.

What would you like to do or work on in the future?

I aim to focus on creator-owned comix but, given the opportunity, I'd like to write and draw The Fantastic Four, Captain Marvel (Shazam), O.M.A.C., Deathlok, and bring back Marvel Two-In-One, featuring The Thing. I also have a great Batman & Superman story that features cameos of the JLA, done in the spirit of a cross between Sullivan's Travels and On The Road.

What do you do when you're in a rut or have writer's block?

Wash dishes. Work on something wholly different. Mix it up. Your mind is always working. Let it work by letting it relax and think different.

What do you think will be the future of your field? 

Patronized digital comix produced one panel at a time; published one per day, delivered directly to your phone, and story arcs get collected into print (if necessary).\

Why are you at the Baltimore Comic-Con this year?

Baltimore Comic-Con is my favorite show, bar none. A perfect combo of rookie and veteran cartoonists among old and new comic books and just the right amount of cosplay. I've also been a regular guest for almost 15 years.

What other cons do you attend? The Small Press Expo, or others? Any comments about attending them?

Besides BCC, I usually attend SPX, NYCC, MoCCA, CAB, and Locust Moon Comics Festival. I was a guest of Wizard World six times this year. They treat me very well.

What's your favorite thing about Baltimore?

Marc Nathan and Brad Tree.

Least favorite?

I've yet to encounter anything in Baltimore to make me dislike its innate charm.

What monument or museum do like to take visitors to?
 

One day I plan to stay an extra day or two so I can personally visit Baltimore's culture.

How about a favorite local restaurant?
 

Out of pure proximity and laziness, I tend to grab dinner at the M&S Grill on E Pratt Street and soak in the Inner Harbor sights.

Do you have a website or blog?

http://deanhaspiel.com/

Christa Cassano and John Leguizamo

by Mike Rhode
  Baltimore Comic-Con is one of the best and friendliest of the mid-size superhero focused cons. Under the leadership of Marc Nathan and Brad Tree, it's grown quite a bit in a decade and a half, but still remains enjoyable for all ages and interests. Hang Dai Studios is based in Brooklyn, but as usual will have a big presence at Baltimore. My friend Dean Haspiel (and Hang Dai Studios founder) will be there with the whole studio, a week after he, Christa Cassano and Gregory Benton attended the Small Press Expo. We hope to have interviews with everyone in the studio throughout the week. Our third interview is with Christa Cassano. Come back tomorrow for interviews with Dean and Gregory.

What type of comic work or cartooning do you do?


I do original type of comics, not sticking to any sort of limitation. 


How do you do it? Traditional pen and ink, computer or a combination?


Originally, I used pencil, but had to switch to working on a Cintiq after dislocating the middle finger of my drawing hand a few years ago. This is because you can press a lot lighter, so it is much less painful. At the one year mark of the injury, I was only able to draw for a few hours on paper before pain set in. I'm hoping enough scar tissue has gone away so I can go back to it soon. Really want to produce tangible art again! 


When (within a decade is fine) and where were you born? 

I was born in the latter half of the 20th Century (that's the best you're getting) in the state of Washington.


What is your training and/or education in cartooning?

I've only been doing comics for the last three years, before that I was in fine art and received extensive training in drawing, painting and sculpture.


Who are your influences?

Discovering Daniel Clowes' Eightball in the early 90's is what made me want to make comics. I carried that torch for decades before finally realizing it, so I guess I'd say he is my ultimate influence. Sam Keith is another early influence, as is Paul Pope, who I've spent a lot of time studying. It's a hard question to answer though, because I am continually uncovering new gems of comics work to worship and adore, but I rarely look outside myself to come up with panel solutions and my drawing style arrived naturally from having taken thousands of life drawing classes, so I can't help but draw like I do.  

If you could, what in your career would you do-over or change?

I would have started doing comics much sooner, or rather, never stopped when I started in 5th grade.


What work are you best-known for?

The up-coming graphic novel Ghetto Klown, written by John Leguizamo and based on his one-man show of the same name. 

What work are you most proud of?


Probably the one I currently have for sale called A Letter Lasts Longer. It's written by Dean Haspiel and was presented to me and 7 other cartoonists as an exercise/experiment at the Atlantic Center for the Arts graphic novel residency in Florida a few years back. We were to create a one page comic around what he had written. Instead, I took extreme liberties and drew a nearly fifty panel comic that you could enter from several points, recently turning it into a uniquely formed accordion book. That residency was the entry point for me into the world of comics and the experiment and its production taught me that I can take my crazy ideas in comics and make them real.   

What would you like to do  or work on in the future?

Pawnland characters with Mouse Guard for 

Baltimore comic con yearbook

Well, as much as I enjoy doing uncommon things and pushing boundaries, I am going to move forward with something that came to me rather naturally, without the usual hair pulling. I recently wrote the first draft to a five-issue series that is a pretty straight forward revenge story. It's set in a dystopic alternate reality called Pawnland. 

What do you do when you're in a rut or have writer's block?

Eat, usually. Or ride my bike.

What do you think will be the future of your field? 

tumblr, robots, extinction.

Why are you at the Baltimore Comic-Con this year?

Because Dean Haspiel is a favored and time-honored guest who graciously shares his table with fellow studio mates. This year our studio will be doing a panel and Hang Dai Editions will be debuting 3 new books, one of which contains a six page story I drew.

What other cons do you attend? The Small Press Expo, or others? Any comments about attending them?

I just came back from SPX, my second year in attendance and always a good, fun time. Not sure about future cons, need to lay low and draw.

What's your favorite thing about Baltimore?

Baltimore Comic Con Director's Brad Tree and Marc Nathan! 

Least favorite?

That I haven't seen The Wire yet. 

What monument or museum do like to take visitors to?

I dig going to the harbor outside of the convention.

How about a favorite local restaurant?

Whatever that one is on the Harbor that begins with an M.

Do you have a website or blog?

I have a flickr with images of my work and an old blog lingering around.

https://www.flickr.com/photos/ccassano/

http://swinginmeatcomics.blog.com/

Miss SELF PUBLISHING - You Can Do It panel Baltimore Comic-Con? No fear, you can listen to the audio here: http://carolynandjoeshow.wordpress.com/2013/09/10/baltimore-comic-con-self-publishing-panel/ Featuring: Amy Chu, Jimmy Palmiotti, Danielle Corsetto, George O'Connor, Dean Haspiel, Carolyn Belefski

Here's photos of Dean Haspiel's minicomic collection being sorted through before going to the Library of Congress for the new SPX collection.

Years ago, my friend Dean Haspiel suggested that I interview Harvey for a Small Press Expo panel - that turned into a journal article, and then a book, as well as a friend acquaintance with Harvey. Harvey died earlier this year, and Dean's got a nice tribute strip up about Harvey now.

ACT-I-VATE webcomics people at Politics & Prose, l-r Simon Fraser, Jim Dougan, Joe Infurnari, and Dean Haspiel. Further down, Jim and Joe switch seats...




(that's Jim's wife who read some of the parts in the comics)

My friend Dean's got an interview in tomorrow's New York Times February 1, 2009 - "The Voice: Beyond ‘Peanuts’," By GEORGE GENE GUSTINES.

My New York buddy Dean Haspiel, who suggested me for the Harvey Pekar SPX panel interview that led to the Conversations book, is keeping busy. Here's a note from him listing his projects:

1] my webcomic, BILLY DOGMA in "Immortal," got nominated for an Eisner award for 'best digital comic'. Link to IMMORTAL: http://www.act-i-vate.com/21.comic [Mike's note - this is available in print now as well]

2] I finished THE ALCOHOLIC, the original graphic novel I illustrated in collaboration with writer, Jonathan Ames, for Vertigo/DC Comics, which is slated to come out in September. I'll be doing lots of press for that book soon. Here's a recent article from PWCW: http://www.publishersweekly.com/article/CA6557737.html?nid=2789

3] MO & JO: FIGHTING TOGETHER FOREVER, my kids book collaboration with underground comix legend/writer Jay Lynch, will also be coming out in September from Francoise Mouly's Toon Books [Raw Jr.]: http://www.toon-books.com/book_mojo_about.php

4] DC Comics' webcomix wing, Zuda, just announced STREET CODE, the new series I'm writing/drawing for them come early summer: http://www.zudacomics.com/street_code

5] ACT-I-VATE, the webcomix collective I founded [and where I do BILLY DOGMA], finally launched an official website after two years utilizing Live Journal: http://www.act-i-vate.com/. Check out, FEAR, MY DEAR: http://www.act-i-vate.com/22.comic

6] I launched a webcomix anthology that I'm also editing called NEXT-DOOR NEIGHBOR at Smith Magazine: http://www.smithmag.net/nextdoorneighbor/

7] I just finished drawing some more AMERICAN SPLENDOR stories for Harvey Pekar [at Vertigo].

8] BEFORE I DIE I WANT TO... http://man-size.livejournal.com/333109.html

As always, interested folks should regularly check my blog: http://man-size.livejournal.com/ for alerts and news and occasional, actual real-life blogging!