I was only about 15 when I first saw Rich Buckler's mimeographed fanzine comics floating around my Detroit high school. Tens of pages each, which seemed as an enormous undertaking, telling new original stories of the Marvel Universe in an unmistakably Kirbyesque style. Pages upon pages of stenciled wonder, employing the most advanced printing techniques available to aspiring comics artists in the earliest years of the 1970's.

Greg Theakston, who attended the same high school and introduced me to Rich's work, told of how Rich had recently moved from our neighborhood to New York, to try to "break into comics", as we used to say (much like one breaks into the Pentagon, but with a little more difficulty). Some time later Greg showed me a new DC Comics Sci-Fi anthology of short stories, one of which was penciled by Rich Buckler and inked by Neal Adams. More than anything, seeing this progression from fanzine art to professional comics, strengthened the notion that drawing comic books is an attainable reality for me back then.

When I began delivering a local newspaper in that neighborhood, circa 1972, Greg noticed that one of my subscribers was none other than Rich Buckler's mother. So I took the opportunity one day of introducing myself as a fan of her son's comics art and was promptly invited in for cake and tea. Rich's mom became one of my favorite paper-route customers, always waiting with a smile and a warm invitation, as I delivered her weekly edition of The Brightmoore Journal.

Several years later when I moved to New York and began drawing comics professionally, I joined a regiment of creators who had also emerged from the Motor City. Rich Buckler, Al Milgrom, Jim Starlin, Greg Theakston, Arvell Jones, Keith Pollard, Aubrey Bradford, Mike Vosburg, Terry Austin, Tom Orzechowski and Desmond Jones were a few creators from that era, but the list has grown remarkably over the decades. Along with Geoff Johns, among other comers to comics since, Detroit City maintains a steady pace of producing comics creators and remains a powerhouse of comics activity, nurturing extensive and thriving independent, alternative, underground and syndicated comics communities. Green Brain Comics, a leading Detroit area comics outlet, carries perhaps the most comprehensive listings and current events of Motown creators and their publications on their web site.

So, it wasn't long after I arrived in New York that I met Rich Buckler and shared with him the stories of my acquaintance with his mother and activity in the Detroit area comics scene. Though we'd worked together on a few projects back then, Rich's world was a little detached from mine in the comics. Operating his own studio, Rich employed several assistants and was producing an enormous amount comics work for both DC and Marvel, all of which gained him the status of one of the finer and more productive creators of that era. By the time I left America for the Middle-East in 1981, Rich and I had worked together on one last project, as he was called in to produce the cover and finish the last few pages of Marvel Team-Up #89, which I'd nearly finished penciling but was unable to complete.

About 10 years later, we worked together again for a while, producing storyboards at Continuity Studios. His art had remained as vibrantly crafted as ever. The reality of a changing comics industry, however, was pressing Rich Buckler to explore new frontiers within which to work, and by which to express himself as an artist.

Another 10 years passed and I met Rich again at the NY Big Apple Con, 2004, and was introduced to his new work, which had taken an unexpected turn into surrealism painting. His work has been featured at exhibits in Paris and New York and has received notable acclaim. Rich Buckler the comics artists is now being hailed as a rising surrealist artist of our time within certain circles of fine art connoisseurs. As was with his comics work, he remains productive as ever, pioneering a new path as an artist and incorporating into it a lifelong accumulation of historical, mythological and philosophical perceptions, evident on the canvases he produces. Below is a feast for the eyes, a small sampling of Rich Buckler surrealism.

During the recent Big Apple Convention, Rich attracted much interest with his surrealism art. He joined Alan, Pauline, Norm, Dave and I for dinner on one evening, where we heard, first-hand, of the cultural and historical background he's nurtured for this new direction. It is undoubtedly a testament to the creator spirit which drives Rich Buckler today, apparently refusing to simply fade into comics bygone history, employing every ounce of creativity and love for the craft, and forging a presence in the world of fine art, rarely sought after by other comics creators.

Before parting, Rich presented me with a copy of his recent book from Vanguard Productions, How to Draw Dynamic Comic Books. This book is unique amongst the how to draw books, in that Rich doesn't attempt to put down a concrete step by step method. Instead, he brings examples from his work of the varying elements which contribute to dynamic comics art and storytelling, and discusses what it it about these that makes them successful. The book carries a foreword by Stan Lee and an introduction by Roy Thomas. A fascinating presentation of the subliminal visual elements of comics art, worthy of a place on the shelf of all comics aficionados. Inside the copy he gave me, Rich inscribed the following dedication:

"To Mike! You are a true friend - and totally awesome artist! - Rich Buckler."

Thanks for the nice words, great friendship and fabulous work, Rich!

Rich Buckler.

Portraits of the Creators.