Exploring the Upsetting History of Comics in Chaykin’s Hey Kids! Comics!

Before diving into Hey Kids! Comics!, I must admit that I like Howard Chaykin. My knowledge of Chaykin was nonexistent when I met him at a convention in August of 2018. The only work of his that I was familiar with was Batman: Thrillkiller; I was unaware of the controversy that followed him from his previous work The Divided State of Hysteria. My experience with Chaykin was a bright spot of the convention, as he extended a helping hand with a personal project by suggesting certain books about the history of comics and the industry. Little did I know that I was looking at sketches for a comic that would be about the history of comics.

Hey Kids! Comics! trade paperback cover

Hey Kids! Comics! is written and drawn by Howard Chaykin; with only three panels throughout the first volume featuring violence, the comic acts as a biography more than the typical comic. The book is mainly dialogue among the three main characters—Ted Whitman, Benita Heindel, and Ray Clarke—and the narrative spans four decades. Ted is an African American man trying to break boundaries in the comic industry. Benita is one of the few women in the comic industry and, just like Ted, she is battling stereotypes—and, in her case, sexism—throughout her career. Ray is the probably the least-likable character of the whole story. With quite a few supporting characters, the book treats the reader to a cast-of-characters page, and Chaykin describes Ray as “morally compromised, artistically inconsistent. Inevitably confused about why his self-regard isn’t shared by colleagues and friends.” It’s not difficult to have an opinion on Ray while reading his introduction, but that is a common trend in Hey Kids! Comics! as most characters are generally unlikable.

The story acts as an angry history lesson more than following an actual story line. Chaykin jumps among four different decades, which at times makes it difficult to follow what is happening. Chaykin’s use of background in his panels helps distinguish each decade, as he smartly changes it to match the era, with the forties, fifties, sixties, and early 2000s being represented. As much as I loved Chaykin’s background art, his character designs can be subpar, as characters do look similar on some panels. His artwork may be familiar if you have read his other works; he has a distinctive style and Hey Kids! Comics! is no exception. An unapologetic Chaykin does not pull any punches as he takes inspirations from personalities in the comic industry and at times paints them in an unflattering way. In the story, he creates two comic companies, Verve Comics and Yankee Comics, with Verve representing Marvel. Verve’s editor-in-chief is Bob Rose, who bears an uncanny resemblance to Stan Lee. Throughout the story, it is even more blatant that the character is Stan Lee, as his appearance matches Lee’s through the decades. As Yankee Comics represents DC Comics, the story spends more time with Rose and Verve, as the main characters seem to be in constant contact with Rose.

Howard Chaykin Bob Rose character

Despite the characters being mean-spirited and pessimistic, getting a front-row seat to see the history of comics is pleasing and different from other works in the genre. The way Chaykin is able to tie in actual events is creative, such as when he explores Fredric Wertham’s fight against comic books with his publication of Seduction of the Innocent. In a scene that explores that event, the main characters encounter an angry mob burning comic books and Benita sees a series of her books burning in the fire, creating one of the more memorable scenes in the comic. Hey Kids! Comics! also hints at Joe Shuster and Jerry Siegel creating Superman and selling the character for only $130, as well as the fractured relationship that Jack Kirby and Stan Lee had.

The cover of the trade paperback for Hey Kids! Comics! features Howard Chaykin on the cover saying “Nah . . . I’ll wait for the trade!” This is ironic, as Hey Kids! Comics! reads better as a trade than it did as single issues. It can be difficult to read at moments as someone who loves comics and the superhero genre, because Chaykin paints a heartbreaking portrait of the creators of the genre. Benita and Ted are the only characters whom I felt myself rooting for or even having a connection with. The character of Bob Rose can be painful to see, as he comes off as an evil Stan Lee. At the same time, it is refreshing to read a comic about the industry despite unflattering portraits of people who are well loved. Hey Kids! Comics! does present a history lesson for comic fans, but it could also be upsetting.

If you enjoy comic-book history, then I would recommend Hey Kids! Comics! On the other hand, if you are looking for a fun action-packed thrill ride, then it’s best to avoid this book. Some of comics’ best creators make special appearances in the book, as Jerry Ordway, José Luis Garcia-López, Walter Simonson, John Workman, and Paul Mounts contribute to Hey Kids! Comics! The addition of these creators is a nice touch as they help establish the evolution of the comic industry. Overall the dialogue is harsh, the characters are unlikable, and the tone comes off as angry. Despite all that, or perhaps because of it, Hey Kids! Comics! is daring and gives comic fans the opportunity to learn about the ugly past of an industry that we love.

Hey Kids! Comics! is available from ImageComics.com or from Amazon.