By Greg Guma
When Vaughn Bode died in 1975 his
most memorable eulogy appeared in National
Lampoon, which speculated in jest that he might have been murdered by Paul
Krassner, a Bode acquaintance and notorious renegade journalist. It was a
fitting tribute for an artist whose life and work often rode the line
between satire, genius and obsession.
Bode had become famous for comics in
the East Village Other, his Cheech
Wizard strip and the weirdly erotic Deadbone series that appeared in Cavalier, the first full-color comic
strip in a national magazine. But by then he was also a world-class manic depressive
with paranoid tendencies, buffeted by primal fears and suicidal thoughts.
And
not all of it was in his mind. The IRS was out to get him.
We met
ten years earlier at Syracuse University, when he returned to school after release
from the army. At the time he admitted to getting out on Section 8, a psychological
discharge, but did not mention that he’d been locked up after a suicide attempt.
He was 23 at the time, married with a young son, and struggling to balance school
with supporting a family by creating ads and illustrations for local
businesses. One campaign included a comic book about the exploits of Mower Man.
On campus he emerged with a strip
called The Man, wryly humorous stories about a cave man struggling to survive
with his only friend, a stick. In a 1966 collection of those strips poet Greg
Kuzma commented that Vaughn’s work was like an epic panorama: “a cast of
thousands of unique characters lies behind his pen waiting to be born.”
Shortly after The Man we began
collaborating on a publication, Vintage,
an attempt to re-imagine the idea of a campus magazine. With a small budget
provided by Syracuse University we produced several issues over the next two
years, each one different in content and form.
These early experiments were
restrained in comparison to what came next. Although Vaughn had not yet experimented
with drugs and wasn’t much aware of the emerging underground comics scene he had
a whole world in his head that was destined to emerge. To provide a better
venue we decided to publish the next issue of Vintage as a series of stand-alone sections, all enclosed in a stylish
slim box. The package included two Vaughn Bode comics, and a third by his protégé
Larry Todd
The more memorable comic was Cheech Wizard, which introduced one of
the characters that made him famous. Cheech, who talks trash from under an
oversized hat, is taken into custody by cops under
the control of Morton Frog, a boss who wants to reveal his identity. But as Cheech
explains in the final frame, after his captors go into shock, “Their primitive
minds couldn’t accept the truth.”
Who was Cheech? Neither he nor Vaughn ever said.
The second comic book, The Machines, is a grim dystopian tale
about a Terminator world of thinking machines. Set in 2005, it’s a war story
with three main characters, a lone human living underground, a “Baby Battery”
machine fighting on the surface and “Mother Complex.” When Baby is hit Mother goes
ballistic before being overwhelmed by other machines. There’s no silver lining
and little humor.Who was Cheech? Neither he nor Vaughn ever said.
As Vaughn’s universe expanded the
magazine attempted to keep up. The last issue of Vintage, released in late 1967, was a large-format publication. We
promoted it with the catch phrase “It’s bigger than Life,” since it was
literally larger than the popular publication. The cover was an elaborate
full-color illustration by Vaughn that introduced the Deadbone world of lizards
and cherubs. Inside, along with contributions by Allen Ginsberg, Marshall McLuhan
and folksinger Tom Paxton, plus features on contraception and a motorcycle
gang, was the first installment of The
Junkwaffel Papers, ostensibly “wireless communications between the Planet
Plumpstickel 5 and Vaughn Bode’’s head.”
The format allowed Vaughn to create a short graphic novel with four book pages on each larger page of the magazine, each bordered with the image of a heavily-armed woman warrior. The story’s premise is that Vaughn, an illustrated character in his tale, is struck by lightning and begins receiving outer space transmissions. Eventually he learns that he’s been set up to provide the opening for a regime change on lizard planet.
The format allowed Vaughn to create a short graphic novel with four book pages on each larger page of the magazine, each bordered with the image of a heavily-armed woman warrior. The story’s premise is that Vaughn, an illustrated character in his tale, is struck by lightning and begins receiving outer space transmissions. Eventually he learns that he’s been set up to provide the opening for a regime change on lizard planet.
“When they try to jam your mind out
of existence,” he is told, “they will be feeding out 86 percent of their total energy
capacities. A nation-wide blackout will exist while they execute you. That’s
when we strike!”
Self-portrait, 1967 |
Fortunately for the world of comic
art, he survived the plot and was invited to lizard world for an extended visit.
But the story did suggest that Vaughn was dealing with deep inner conflicts,
and perhaps even saw himself as a victim. Meanwhile, back on Earth, he separated
from his wife Barbara and moved to New York in 1968 to begin work with The East Village Other and found The Gothic Blimp, a weekly comic paper.
That year he also won a Hugo Award for his science fiction illustrations.
By 1970 Vaughn Bode was a comic art
superstar, his work able to cross from the underground to commercial venues. He’d
created about 200 different cartoon series with more than 1500 characters. During
a visit in 1969 he shared some of the detailed dossiers and designs he was
developing for each character and location. A natural performer, he also began
appearing in a series of Cartoon Concerts, which combined slides of his art
with voicing of characters. His Cavalier
strips were collected for a 1971 book, Deadbone
Erotica.
Deadbone landscape |
For several years he followed Guru
Maharaji, the teenage spiritual leader of the Divine Light Mission. At the same
time he was experimenting with meditative auto-asphyxiation. Although primarily
known as a sexual practice, oxygen deprivation is sometimes associated with deep
meditative states.
On July 18, 1975, according to the official version of the story, Vaughn was
meditating with a leather collar around his neck. A San Francisco Chronicle editor described it as a bizarre hanging
accident. But National Lampoon wasn’t
satisfied with that tepid explanation. “Bode was a convert to Zen Zen, a highly
advanced mystical discipline which teaches that satori can be reached merely by
drinking a quart of Jim Beam and urinating in a light socket,” the Magazine joked. I believe he would have loved the attention and have gotten the joke.
And Jesus was waiting for Bode
And Cheech up in heaven that day.
If you believe in forever
Then life ain’t just a four frame
gag.
If there’s a comic strip heaven,
You know they’ve got a heck of a
gang.
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