TREVOR VON EEDEN

EM-TVE-WONDER WOMAN

Artist/Illustrator

Co-Creator of Black Lightning Character for DC Comics

Tell us how you got interested in comics as a kid, what motivated you to want to draw comics specifically?

I discovered comics at 8 yrs old, in Georgetown, Guyana–my birthplace in South America. I came to the USA with my family in 1970, when I was 11. I was born on July 24th, 1959. There was no TV there, so I read a LOT. I loved the newspaper comic strips–Andy Capp, Sad Sack, Dr. Kildare, The Phantom come to mind…The first comics I remember reading were Kirby’s Sgt. Fury, Thor, and The Fantastic Four. I discovered Buscema, Swan, Romita, and Adams after coming to the States. Comics were a FUN change from the philosophically-heavy literature that I like to read–very IMAGINATIVELY stimulating. As a matter of fact, I taught myself to draw just to be able to SEE the images that reading put in my head. Comics were very helpful towards that end. But my FIRST love remains the English language.

However, I never actively pursued a career in comics. My entire family’s in the medical field, and I was a 16-year old Freshman in the pre-med course at Columbia University when my best friend at the time, Albert Simonson, sent some of my drawings to DC Comics for a critique–and I got back an invitation to “drop by, if I was ever in the neighborhood”–which I did. DC was in the process of creating their first ORIGINAL black super-hero, BLACK LIGHTNING (John Stewart, the knock-off black GREEN LANTERN preceded him)–and in walked this young, black kid who could REALLY draw…The powers-that-be took one look at me, and (LITERALLY) said: “Trevor, we want you to quit school, and draw comics for us!” I said: “Let me think about it…Yes.” So I officially withdrew from Columbia U. and told my mother, in whose house I lived at the time–what I was going to do for a living. My father lived apart from my mother and siblings–but was proud of me. My mother has STILL never forgiven me for throwing away a promising career as a doctor–for which she has my utter sympathies–but my life has ALWAYS been my OWN…and always WILL be. I like being HAPPY–but that’s just me.

So I became DC Comics first (i.e: “OFFICIAL”) black artist, the youngest artist they’d EVER hired–and co-creator of their first black super-hero. A title given to me because I’d designed BL’s original costume, and drawn his debut adventures–much like Joe Shuster and Jerry Siegel, to my understanding. Tony Isabella created the initial IDEA of the character, I dressed him, and presented him to the public–but unlike what Tony has written, and/or seems to believe–I have NEVER asked/sought/petitioned/requested/desired the title. I was TOLD by DC Management that I’m a co-creator of BLACK LIGHTNING–and if what I did to EARN that title was good enuf for Joe Shuster, it’s certainly good enuf for me! I certainly bear no grudge against Tony.

As a young Artist how supportive was your family/friends?

My family was NEVER supportive of my career–only my best friend, Al Simonson was. Al had introduced me to his vast comics collection shortly after I’d met him in Junior High School–and was my BEST critic…until I met, and started working for Neal Adams, doing Advertising Art at his Continuity Studios–which I did concurrent with my ENTIRE 25-year comics career (1976-2001), and YEARS beyond. Working in both the Comics and Advertising fields gave me an INVALUABLE insight into the mind control techniques used in America to condition, influence, and subliminally program a hapless and gullible public. That knowledge was worth EVERYTHING that I went through to acquire it–and that, too, is another story…Fortunately, ALL of the stories in MY life have a HAPPY ending. Whose life IS it, anyway?

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What was it like working for DC/Marvel?

I only worked for Marvel occasionally–but what was it like working for DC Comics?–EXACTLY what you’d expect, as a young BLACK teenager working for a dyed-in-the-wool WHITE SUPREMACIST corporation. I was the main attraction in a FREAK SHOW–and at 16 years old, I was expected to represent an ENTIRE nation of people that I didn’t even KNOW! (I’d only been in North America for 5 years, at the time…) Bluntly put–I was EXPECTED to become an UNCLE TOM…in order to “SUCCEED” in the comics field. As it was, I found it to be an extremely PSYCHOLOGICALLY EDUCATIONAL experience–I got the first-hand experience of working DIRECTLY with self-deluded racists (with the notable exception of editors Jack C. Harris, Andy Helfer, Kevin Dooley, Dick Giordano–and the GREAT Archie Goodwin. I never worked for Denny O’Neil directly, only his Asst. Ed. Jordan GorFINKel–so Denny was one of my editors in name only…and yes, Jordan was a fink.) BUT…I also got PAID to become an ARTIST–by the very kind of blindly, self-servingly deluded racists/white supremacists (same goddamn thing) that I now use my art to expose…You’ve just gotta LOVE the irony! So far, Karma hasn’t been anything but a LADY to ME, too…

Y’know what?–I feel GOOD!!…As I KNEW that I WOULD!!! But I digress…On we go:

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Are you currently working with either company? How long associated with them through the years?

I’m not currently working for either company. I did a 20 page Superman/Black Lightning story for DC in ’16, while I was being treated for colon cancer (I survived)–but they never published it. I also did a couple of covers for Marvel shortly after that–but after I sent an email to my editors there stating that “I can draw more than just black people, and covers”–I never got work from them again. You can judge my point of view for yourself by looking at the covers I’d been assigned. (ALL black characters–except for one “token” Winter Soldier cover…) I never even got a REPLY to that email, btw–which is what I would expect from ADULTS–hence my main beef with the people who work behind the scenes (i.e. Management) in the Comics field. If I could encapsulate my feeling for the IDEA of CREATING comics in one word, I’d say: “THRILLING!!” But as to the PEOPLE that I’ve met in my comics career–with few exceptions, I’d say: “DISAPPOINTING.” Fortunately, my happiness wasn’t dependent on any of them in ANY way–BUT that critique doesn’t apply to the FANS that I’ve met in my career, via conventions, etc.–who have ALL been WONDERFUL to me!! THAT’S what makes drawing comics FUN for me, aside from doing the work itself–THE APPRECIATION OF INTELLIGENT FANS!! And there are a LOT more of THOSE than there are narrow-minded editors in Comics. It’s why I never worry about the future of Comics, really–I TRUST the FANS!! I started my career as one, and that’s never changed.

I’ve been very FORTUNATE in my comics career–it’s helped me to find both PEACE OF MIND, and PRIDE–in my life, and character. Unlike Arrogance, which needs “inferiors” around to exist–Pride needs only one thing: ACHIEVEMENT. And that’s what being an ARTIST does for ME. I can’t speak for any other person on the planet–nor have I EVER wanted to. Being ME makes me HAPPY. I think that’s essentially TRUE of EVERYBODY. But it takes COURAGE to be who you REALLY are in LIFE–Many people choose to believe in a Life after Death, based on what they’ve been taught…I choose to believe in Life BEFORE Death–and I plan to LIVE the Hell out of it, too
!!!

I’m certainly CURIOUS to know what happens after one dies, but I’ll definitely NEVER pollute my mind, heart, nor soul with visions of Hell or Heaven CREATED BY OTHERS!!! I prefer to LIVE MY HEAVEN–RIGHT HERE ON EARTH! That’s ALWAYS worked for ME!

Is there a need for more diversity in Comics?

Hmm…Is there a need for diversity in A STILL-RACIST COUNTRY, INDUSTRY, AND SOCIETY?
What was the question again?

I wrote and drew a GRAPHIC NOVEL entitled “THE ORIGINAL JOHNSON”–the TRUE story of the FIRST Black Heavyweight Champion of the whole, white world: Jack Johnson. It was released in two volumes, by publishers ComicMix & IDW. Vol. 1 was released on Dec. 22nd, 2009…and SOLD OUT IMMEDIATELY!! However, Vol. 2 was released 14 MONTHS LATER, on Feb 11th, 2011–GUARANTEEING that any momentum/interest/SALES generated by Vol. 1 sellout success would be DESTROYED. Ask me WHY that happened…or can you guess, by now?

I also had to SUE ComicMix for receipt of my ROYALTIES–which I did two weeks before the 6-year Statute of Limitations to sue for breach of contract ran out. I WON the suit, needless to say…and the $450 an hour lawyer who helped me deal with them (the fellow made more in a WEEK than I did in a YEAR–and was a real SMART cookie!) took my case pro bono–it didn’t cost me a penny!! Turns out he was something of an amateur musician, aside from his law work…and he remains a FRIEND of mine to this day. Life is GOOD, pal!

How long a process is it from conception of a story to a finished book, and do you ink or color your work as well as draw them?

I can pencil a page a day–two if necessary. I ink at pretty much the same rate. The length of time a script/project/job takes depends on the length of the job…and yes, I prefer to ink my own work whenever possible.

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Did you get to keep your original works/were your drawings returned to you?

The artist keeps the ORIGINAL art. Comics companies pay for the REPRODUCTION rights to artwork. The client pays for, and gets to KEEP the original only if the art is created as an individual COMMISSION–e.g: a standalone illustration for the client’s personal pleasure, and not intended to be reproduced for profit–as in comicbook form. Due mainly to the efforts of Neal Adams, in getting comics companies to RETURN the artwork to the artist after the book’s been printed–the resale of original comics art is now a booming, billion-dollar business. If ’twere up to the comics companies, ALL of that original art would’ve been BURNED–or disposed of in some other way…like GARBAGE. I truly PITY people with that kind of soulless, corporate mentality. But I assume they have their own crosses to bear, so I don’t think about them much.

Do you want to talk about the process of working conditions, treatment of Artists in the industry?

I have no idea how other artists have been treated in the comics industry. I tend to keep to myself in my life–I actually ENJOY my OWN company. That was enuf to keep Leonardo Da Vinci HAPPY–that, and a FREE world to explore, and play in… I’ve absolutely no comment on industry changes, nor creating better comics companies–I’m much too busy just trying to EARN a LIVING in an already deeply-flawed, and self-delusional RACIST/WHITE SUPREMACIST society, system…and country. My wishes and desires won’t change a DAMN thing about THAT–but what I DO might. Btw, you know the difference between a racist, and a White Supremacist? A racist believes that they’re better than black people–a white supremacist believes that they’re better than EVERYBODY! Ignore that at your own peril.

Would you like to announce any current or upcoming projects?

I’m currently working on my second book, “HERU: The First Hero”, a retelling of the Ancient Egyptian Myth of Osiris, Horus, and Isis. Horus was ORIGINALLY called “HERU”–from which the word “HERO” is derived. I plan to tell THAT story.

Unless someone KILLS me first. 👁