He grew up in the ethnically mixed, southern California town of Oxnard. Jaime (HIGH-may) Hernandez was born in 1959, one of the youngest of four brothers and sisters. That standard was met in 1982 with the publication of a comic book by three Mexican-American brothers from southern California, called Love & Rockets. Under the Fantagraphics Books imprint, Gary Groth and Kim Thompson began to publish comics which aspired to an artistic quality that lived up to the high standard set forth in the pages of their critical magazine, The Comics Journal. Underground comics evolved away from sex and drugs toward maturity in two anthologies, RAW (Art Spiegleman & Francoise Mouly, eds., 1980) and Weirdo (R. With proto-graphic novel publisher, Eclipse, mainstream rebels produced explicit versions of their earlier work, such as Sabre (Don McGreggor & Paul Gulacy, 1978) and Stewart the Rat (Steve Gerber & Gene Colan, 1980). Other cartoonists self-published their mainstream-rejected comics, like Cerebus (Dave Sim, 1977) and Elfquest (Wendy & Richard Pini, 1978) to financial and critical success. Crumb and others, from his home in Cleveland, Ohio. In 1976, Harvey Pekar began self-publishing his annual autobiographical comics collection, American Splendor, with art by R. These new comics were often a cross between the familiar genres of the mainstream and the personal artistic freedom of underground comics, but sometimes something altogether different would appear.

This opened the door for publishers who had small print runs, with color covers and black and white interiors, to emerge with an alternative to corporate mainstream comics. Comic book specialty shops were growing in number and a new “non-returnable” distribution system had been created to supply them.

The Marvel, DC and Archie lines were going through the same tired motions being produced by second and third generation artists and writers who grew up reading the same books they were now creating. Comic books were in the midst of change by the early 1980s.

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