How do you decide what titles you are going to carry in the shop?
Lots of input from lots of employees. We have a computer that tracks sales so we can guesstimate regular weekly comic book sales, so that's a little easier. But only if it stays with a consist writer and artist or creator, and there isn't a crossover no one likes, or the comic isn't late, etc etc etc. Other than that, it's learning what creators you like, and what the customers like, and how can you bridge the knowledge there to show people things they would enjoy reading. But it all comes down to sales. There are some amazing books and creators that just don't sell in our area, or will sell in one of our stores because every employee there is enthusiastic about it, and won't in others where it's not the thing they're into. But even that can get swamped in the massive output of things coming out. It's hard to remember your favorite new comic from 3 weeks ago when you've had to try to deal with 300 new comic books and graphic novels since then. Especially the graphic novels. It's not like reading a 20 page comic book #1 issue to see if a new series is worth recommending, a 300 page graphic novel is a whole other commitment. And there a lot of those coming out every week now. Even some of my favorite creators have put out stuff I haven't gotten around to reading yet.
The other thing we do it try to keep our eyes open at conventions and online. We're lucky that the Small Press Expo (SPX) is our hometown show, partly started by the founder of Big Planet Comics, Joel Pollack. The original SPX site was 3 blocks from our Bethesda store. We can walk around SPX and buy boxes of comics to sell at our stores, and be surprised how many local people didn't see them at the show, or didn't have time to make it around and see every comic. We just ordered Zainab Akhtar's ShortBox comic line, since it's a bunch of great comics published in the UK that might not make it over here easily. One of our employees, Kelly, got into those. Another employee Kevin, first spotted Peow! Studio in Sweden. A lot of these we order since they look great and we might want some for ourselves! But it's having a diverse store that will have something different. If you visit a lot of comic book stores, sometimes you can walk out without buying anything since it's the same as every other comic book store you've been to.
Elsewhere? Elsewhere is a lot of articles about the Josh Brolin movie coming out. Lots and lots of those. The only one I've finished reading is this Groovy one. It features the following page, which is as perfect a page of Marvel Comics. Who hasn't been assaulted by fists of shattered illusions and broken promises? That's one of the more apt definitions of growing up fiction has ever produced.
Today on the site, comics scholar Michael Tisserand tells the little-known but important story of Eugene Majied, the Nation of Islam cartoonist who inspired Muhammad Ali, and, in the process, changed history.
For Muhammad Ali, it was the right comic at the right time. As Chicago writer Jonathan Eig recounts in his acclaimed biography Ali: A Life, the young boxer, then named Cassius Clay, was standing outside a skating rink in his hometown of Louisville, Kentucky, when a member of the Nation of Islam approached him with a copy of the newspaper Muhammad Speaks.
The man who sold him the newspaper — “a black brother dressed in a black Mohair suit, white shirt and a black bow,” as Ali later remembered him — hoped to convince Ali to go to a meeting. Said Ali: “But I had no intention of going to any meeting. But I did buy the Muhammad Speaks paper. And [one] thing in the paper [made] me keep the paper, and that was a cartoon.”
Not just any cartoon. In the list of cartoons and comics that changed history — think Benjamin Franklin’s "Join, Or Die" or Thomas Nast’s “Boss” Tweed caricatures — the four-panel comic "How We 'Lost' Our Language" in the December, 1961, issue of Muhammad Speaks is certainly more modest and lesser known. Yet its influence has been widely felt. By introducing Ali to the Nation of Islam, it not only helped shape the future of sports. It also changed the wider culture when Ali emerged as an outspoken political figure who championed black rights and protested American military involvement in Vietnam.
Olivia Jaimes is a pseudonym, and the cartoonist requested the email interview for fear that a conversation might reveal clues to her identity. “I’m a pretty private person and I want to be insulated from the whole ‘Big Thing’ that a classic comic strip is,” she wrote. “The pseudonym lets me do that, and I’m really grateful for it.”
It may have been a wise move. The transition from Guy Gilchrist, the previous cartoonist, has not been met quietly.
The nominees for the 2018 Glyph Awards have been announced.
—Interviews & Profiles. Over at LARB, Alex Dueben talks to the novelist and comics writer Mat Johnson.
I’d fallen in love with the novel. One of the reasons was because the novel was cheaper. For two dollars I could buy a brand-new comic book, or for the same two bucks I could go to the used bookstore that was in Reading Terminal Market in downtown Philly and I could pick up a novel that I would read for two weeks. The novel was easier to carry around. Girls didn’t look at me funny. I became a writer and a novelist and got my MFA at Columbia. I had one book that didn’t do particularly well, either commercially or critically. The second one did worse. I hit a dead end with that.
David Hyde was a former publicist at Vintage who was now working at Vertigo. I knew him and he knew about my love of comics. He said, you should come over and pitch. It seems so obvious now, but at the time there was far less collaboration going on between literary fiction and comic books. I was a Columbia MFA so it felt like I was a classically trained ballerina who was stripping out by the airport on the weekends. Comics have changed a lot in the American imagination. What we thought about comics then was superhero stories, and now superhero stories are primarily film and our understanding of the graphic novel exists in a way that it didn’t before. At the time it felt really crazy. The job I have right now I’ve had for 10 years and when I interviewed for the job, I had on my resume that my comics were coming out and they said, that’s just a crazy thing you’re doing on the side, right? That’s not what you’re really doing?
I do not use a computer. I do not know how to use Photoshop. Why teach the machine how to do my job? Everything is analog. I draw on conventional office paper and use conventional office supplies essentially. Pentel rolling writers which were the first rollerball pen. Alex Toth told me to use that pen. And I use color pencils and markers. Mostly Berol Prismacolor brand. As Art Spigelman says “it is more like writing” in that sense if one uses “dry” media. One of my jobs as a young man was to be an assistant to oil painters and I enjoy not having to have a separate studio in which to make art. Cartoonists are lucky that we can be relatively clean in that way. I do use the airbrush. That’s fun. But it is water based. I use the airbrush mostly for background paintings that I am hired to do by Dash Shaw. But I also did a Silver Surfer story for Marvel with the airbrush. The airbrush is fun because it is like drawing with colored air. And it is water based paint.
Today at The Journal, we've got a nice long conversation with Craig Thompson, whose influential travelogue Carnet de Voyage finds itself entering the deluxe hardcover re-issue territory with an all-new publisher. Here's Craig on what happened when he got outside of the studio:
I think I was pretty good about it then. Before I did comics my modes of expression were letter writing and keeping a sketchbook. I did that since I was a teen. Like a lot of cartoonists I lost the habit of because you get into more of a productivity, this is my job sort of zone. You’re not keeping a sketchbook for fun and for play anymore. But at that time, when I was working on Blankets, I was trying to draw more from life. That original France trip in 2001 was right in the middle of working on Blankets so I was trying to discipline myself to draw anywhere. I guess that’s reflected in Carnet de Voyage. I was pushing myself because I came from that cartooning tradition of just drawing goofy cartoon characters from my imagination. I always had art teachers growing up who criticized me for never drawing from life; I just drew cartoons. Once I was in my twenties I was dabbling in that for the first time and trying to learn how to draw from life. And tapping the pleasure of that, too. It’s nice to get out of your own head. That’s a big moral from Carnet de Voyage. When I work on my graphic novels I’m isolated in my studio all alone and really sweating over everything in isolation, but Carnet de Voyage really got me out of my comfort zone and I was just drawing everywhere. I’d be drawing on trains and planes and on camelback while adventuring through the Sahara desert. I was also interacting with people and it wasn’t just that isolation.
And that's not all: today's TCJ Review turns towards...a pretty unusual way to promote craft beer, courtesy of Image Comics and Simon Bisley. It's Tegan O'Neil on Alpha King, or, as it would be properly referred to in court, "3 Floyds: Alpha King".
And perhaps that’s a very important point: youthful signifiers become sharply conservative with time. The powerful Bisley who made Slaine doesn’t seem to have much to chew on here. The protagonist is the Alpha King, and I’m sorry, you don’t need to know the plot. You don’t! It’s not that the plot is bad, it’s that the plot is basically an excuse for Bisley to draw his crazy-eyed muscle-man character breaking the laws of physiology by using exaggerated anatomy to express emotional extremity. Without Bisley it’s hard to imagine Sam Keith, working very similar fields at least through his 90s peak, and after him so many artists who absorbed the influence maybe at one or two generation of remove.
Elsewhere, all of social media and more than a few comics news websites was on fire with commentary following the last minute cancellation of Universal FanCon, a comics-adjacent convention that had used Kickstarter as a funding source. There's a sober write-up of the story thus far at the Baltimore Sun (sober in that it relies less on social media posts, which ultimately makes it less fun to read than the Buzzfeed article, which is more of a chaos registry), and a few threads on twitter are working to unravel the history of the organizers, some of whom are allegedly involved with other conventions that were cancelled under mysterious circumstances. This story has been developing at an extremely rapid pace, to say the least.
Twenty-two years ago today, Neurosis released Through Silver in Blood, an album of inexhaustible savagery, an honest passage through depression, nihilism and fear. It was as non-commercial one could get in a musical category not known for commercial properties, made by a band whose members were struggling with mental illness, addiction and homelessness. It resulted in the biggest hit of their lives, influenced countless musicians, and guaranteed them a career that has yet to conclude. This has nothing to do with comics, but around these parts, we celebrate our own holidays.
If you were intrigued by Joe McCulloch's review of Inio Asano's Dead Dead Demon’s Dededede Destruction, you now have the chance to read a little of it for yourself. Or rather, a lot of it, as VIZ was very generous in allowing us to preview a whole sixty pages. It will only be up on the site for a limited time, so don't delay.
Let me attempt to begin with a joke. So Walt Disney, Saul Steinberg, and Tomi Ungerer walk into an insane asylum. No wait, I'm telling it wrong. Walt Disney walks into his therapist's office. The therapist says, "Why the long beak?" Because in this story, Walt Disney is depicted as a bird. I'm kidding; I wasn't really attempting to tell a joke, but summarizing the basic plot and visual sensibility of Anna Haifisch's Von Spatz, where Steinberg is a cat, and Ungerer's a mouse, but no one preys on one another. They are all in rehab due to the psychic toll being artists has taken on them.
This is not one of those comics where the biography of an artist is depicted in a cartoonist's approximation of their style. Haifisch has chosen as her subjects three people whose commonality is that they are all cartoonists of one sort or another, and she depicts them in her own cartooned style. The characters are simply delineated, essentially stick figures, distinguished from one another by their animal heads, but the backgrounds pop with color. Trained as a printmaker, Haifisch uses black lines and limited colors to convey pictorial depth and depth of feeling equally adroitly. There's respect for these artists, and affection for them as characters, but they exist on her terms: It's fiction, not biography. Not only did this never happen, there are many ways in which it never could have happened. Anachronisms and shifting contexts form the core of the book's sense of humor. A few moments suggest cartoon characters might be staying at the clinic as well as cartoonists. The book is a deadpan delight, as the logic, or illogic, of its world is slowly charted. The whole thing proceeds with a "ha ha what?" tension, not quite cohering into something that makes sense, and obliquely suggesting the nature of the characters' breakdowns. The tone is absurd but conveys a tired malaise, like a Steven Wright one-liner, or Zach Galifianakis at his most despondent.
Curiously, the type of genre material that keeps industries alive in other countries is virtually nonexistent in German film and comics. Sure, foreign genre work is being translated and distributed en masse, but most German-language genre work—the kind of commercial work that won’t require public funding to be viable—faded away throughout the 1980s, and the industries that produced it never came back. As a work of genre, Endzeit happens to be a niche project, in comics as well as in the film industry. Vieweg wonders whether that’s another part of the legacy left behind by the Nazis, and by the public outrage and legislation against “trash” and “filth” that followed in the 1950s.
“People still think this way even today,” she says. “Comics are for children and for stupid people. And genre movies like Godzilla didn’t find any recognition, either.” Vieweg points out that some of the seminal horror films of the 1920s, such as Nosferatu and The Cabinet of Dr. Caligari, were made in Germany—just like the frequently horrific fairy tales of the Brothers Grimm, which continue to be well-regarded to this day.
“So what the devil happened there?!”, she wonders.
And on the TCJ Review front, we've got a review of a super-hero comic from DC that's written by Kurt Busiek. You'll have to click through to find out which Intellectual Property it is, but i'll give you a hint: the review is written by Noah Berlatsky, and Noah wouldn't know who to enjoy an issue of Suicide Squad even if our decade long relationship depended on it. (It did, and we're through!)
Harry Peter's art occupied an odd middle ground between Henry Darger, Beardsley, and Victorian children's illustration; his stiff figures and fluid lines lent a cheerfully quivering eroticism to images of battle kangaroos, women bound, pink ectoplasmic goo and more women bound. Together, Marston and Peter created enormously popular, sexually adventurous comics for eight year olds, as well as a brief for third-wave sex-positive feminism before the second wave had gotten off the ground. Superhero comics would never be as weird, as daring, or as beautiful again.
Elsewhere, the Doug Wright Awards were announced. It's a fine list of comics and creators, and, if history repeats itself, will probably result in a fine list of winners. And just a reminder to those of you who don't like it when art is ranked against each other, you're absolutely 100% correct. However, caring about that particular argument is boring, and no one likes listening to you talk about it.
The longer pieces in the book tackle tough emotional matters head-on. He talks in detail about his repetitive behaviors, thinking about it from the point of view of what his neighbors might say. He feels bad for his dad that he has to pull the plug on his brain-dead uncle, but is brutally honest in revealing that he has no feelings about his uncle whatsoever. He accidentally breaks a picture when he gets angry about not being invited to go out to a bar and chastises himself for that reaction. Really, the only thing that breaks up the monotony of his daily existence in the book is his traveling to comics shows. These are like palate cleansers, forcing him to abandon habits and reach out to others. He later gets into a long-distance relationship and pulls away yet again. He finally faces up to his depression and gets a new therapist.
This volume is unrelenting in its honesty and in Budnik's need to expand on his fears, feelings, and hopes on every page. This is the ideal version of a cartoonist not censoring themselves on the page, only instead of drawing lurid power fantasies as a way of concealing what really drives him, Budnik is willing to make himself look fragile. He's not just "spilling some ink" (as Rob Kirby and I refer to autobiographical cartoonists digging deep in telling their stories), he's knocked over a whole bottle. That metaphor is especially applicable to Budnik, who compulsively cleans as a way of controlling his environment. He has the option of concealing his feelings and symptoms, yet he chooses not to. I don't get the sense that he's doing this because he's being an emotional exhibitionist. Rather, it seems to go back to that idea of "telling on your secrets" as a way of loosening their power and the sense of shame they bring, even if he gets little immediate relief from this.
Printed images — and the comic book medium’s unique presentation of them — are at the heart of this feature. We have set out to trace the evolution of American comics by looking at 100 pages that altered the course of the field’s history. We chose to focus on individual pages rather than complete works, single panels, or specific narrative moments because the page is the fundamental unit of a comic book. It is where multiple images can allow your eye to play around in time and space simultaneously, or where a single, full-page image can instantly sear itself into your brain. If there are words, they become elements of the image itself, thanks to the carefully chosen economy of the writer and the thoughtful graphic design of the letterer. In the best pages, one is torn between staring endlessly at what’s in front of you or excitedly turning to the next one to see where the story is going. When comics have moved in new directions, the pivot points come in a page.
The weird thing is that for the most part the explanations that follow tend not to focus on the pages themselves, and seem more about the comics as a whole. Which is fine, but why not just make it most influential comics? It is also a lot more superhero-heavy than I think it should be, but that's a matter of taste. Anyway, an interesting experiment in any case.
Cartoonists who draw and invent stories each day—be it George Herriman, of “Krazy Kat,” Charles M. Schulz, of “Peanuts,” or Saul Steinberg, at The New Yorker—get to tap their subconscious for our delight. In “Why Art?,” the audience is buffeted by the constant back and forth between Davis and her art, but we’re allowed, for an instant, to linger in the liminal space between created and creator. It’s a rare and perfect vantage point.
When I pointed out that one can see parallels between the climax of “Master Race” and the Bruce Wayne origin sequence, Miller cut us off. “Oh, it’s not a parallel,” he said with a little chuckle. “He came first and I imitated him.”
Today at The Journal, we've got your very own Joe McCulloch, here with a review of the first volume of Dead Dead Demon's Dededede Destruction, the newest Viz release by Inio Asano. We'll have an excerpt from the title later this week!
The premise of the series is this. Not long ago, an enormous alien spacecraft appeared above Japan, causing some amount of property damage and loss of life as it maneuvered itself into a low hover. A perhaps more serious incident subsequently occurred when United States military aid resulted in the irradiation of Tokyo via an advanced weapon, but people don't talk about that so much because the effects of A-rays aren't scientifically proven, and anyway the presence of aliens has supplied a new excuse for profitable militarization in Japan, to say nothing of the political benefits of patriotism. On the day of the invasion -- which, doing the math from this series' 2014 serial debut in Japan, places it in 2011, conspicuously the same year as the Tōhoku earthquake and the resultant Fukushima Daiichi nuclear disaster -- young Kadode Koyama's father was either killed or took the opportunity to abandon his family. Three years later, Kadode's mom, a political radical, is a hypochondriac mess of anxiety who wants the nearly-graduated teen Kadode to join her and her boyfriend off the grid in a clean-living commune. Kadode doesn't want to go; she mostly just wants to hang out with her pal Oran, a manic girl with massive twintails who's deeply invested in online first-person shooter video games, but not because she loves warfare. In fact, Oran is disgusted by the hypocrisy and superficiality of society, so she trains herself for domination in a coming world where humankind is rightly brought low: standing tall at the bottom of the drain.
Meanwhile, over at The Beat, James Romberger got his signals crossed and sent a story about Ramona Fradon to somebody besides me, a guy who has spent more time tracking down old Metamorpho comics than is socially acceptable. To add insult to an already unforgivable injury, The Romberger Report also delivers the official final word on which artist was responsible for that classic civil rights comic, Martin Luther King and the Montgomery Story: Sy Barry. It's a great piece of detective work by James, and he should be applauded for his work.
And then there's Alenka Figa at Women Write About Comics with the first loud proclamation of "this one, y'all" around Michael Deforge's Leaving Richard's Valley, which reached conclusion yesterday.
But that's not the only comic you can read on the web, thanks to Kevin Huizenga, who has his 2010 Marvel Strange Tales contribution up at his blog. It features Wolverine fighting the Silver Surfer.
I remember the manic hype around Homestuck during its original run online (between 2009 and 2016), which easily consumed the attention on anyone within five or six degrees of it. The oversaturated presence of the webcomic and its rabid fans exhausted me before I even had a chance to want to read it on my own terms. On top of that, it was overwhelming to even think of diving into if you weren't already on the wagon during the first year, and I had missed that cut-off point. The jagged pixel artwork, the torrential updates, and the copious walls of colorful chat conversations were turn-offs for me, and the buzz about it was deafening. The webcomic became a magnetic field that you were either completely absorbed by or fully repelled by. No in-betweens, no casual readers. This sort of fandom environment was the quintessence of the decade. The early 2000s felt to me like everyone was completely in thrall to their particular media fandom (RIP SuperWhoLock) and then something happened in the early 2010s and the open manic enthusiasm started to fade out. Avid fandoms are still around of course, but I think the proliferation of social justice discourse began heavily permeating online social media at this point and readers became more careful as to what and, more importantly, who they wanted to stan for publicly. This is all to say that the virtual participatory fan culture around Homestuck, its generation, and consistent fervent popularity has been my only point of engagement until now, an interesting but distant vantage point.
Now to the brick of a book at hand. Homestuck, Book 1: Acts 1 & 2 is an interesting but overall redundant artifact. Homestuck follows a small group of tweens as they chat online, avoid their guardians, and watch their homes get destroyed by meteors before getting sucked into a video game. In his preface, Hussie is quick to point out that most of the first three acts were influenced by reader submissions and that the virtual locus of Homestuck is crucial; seeing it in static book form means readers miss out on the dynamism its digital nature provides. These books are meant to be supplementary at best. As someone reading it for the first time in book form, this made me less than excited to read further.
The common defense of Apu is that The Simpsons has many stereotypes (the Italian Fat Tony, the sometimes-Jewish Krusty the Clown, the Scottish Groundskeeper Willy). But none of these characters exist in a cultural reality where they are the only representative of their ethnicity: there are myriad Italian-American and Jewish characters on TV, but for many years, Apu stood as a singular representative of desi culture. That’s slowly starting to change with shows like Mindy Kaling’s The Mindy Project, but these programs haven’t yet had the cultural impact of The Simpsons.
There’s a big difference between the self-deprecating ethnic comedy of Kondabolu and Kaling, which belongs to a tradition of Richard Pryor and Jerry Seinfeld, and having a white man do an Indian accent (as Hank Azaria does for Apu). As Kondabolu argues in a conversation with Whoopi Goldberg, there’s an undeniable element of minstrelsy in Apu.
As the spouse of one of my closest friends, Chip Kidd, I got to know Sandy McClatchy as one might know, well, a friend’s spouse. Chip and Sandy met in the early nineties, Chip and I having been friends for a few years before and I first learning of Chip’s infatuation when he mailed me a color-xeroxed eight-by-ten-inch publicity photo of Sandy with the words PROPERTY OF C.K. written diagonally in red across its lower quadrant like bubble letters on a school spiral notebook. Though I felt like I’d been passed a secret note in math class, I offered up my heartiest of congratulations because Chip had been single for a while. Privately, however, I was worried: Chip and I really only talked about comics and dumb stuff; this guy was a poet and opera librettist. What do poets and opera librettists talk about? What was I going to talk about if I ever met him? ...
—Interviews & Profiles. For the NYRB, Claudia Dreifus interviews Art Spiegelman.
I take it that you are no fan of Schindler’s List?
I think of it as the feel-good version of that S&M cult classic The Night Porter. There’s a scene in Schindler’s List in which the commandant played by Ralph Fiennes is in bed with a woman, and he takes his handgun and shoots some Jew he sees out the window. The message there, inextricably linked, is that all sex leads to holocausts. They are somehow joined at the hip: the two concepts.
As troubling was the Best Foreign Film in 1999, Life Is Beautiful. It said, ultimately, that if only the victims could just have taken it all with a song in their hearts and tap-danced their way, Chaplin-like, through the barbed wire, then “life” would be “beautiful.” I read somewhere that the director said he’d been inspired by Maus. If that’s true, I would have liked to go back in time and yank the book out of his hands!
I feel like some people are marathon runners, some are sprinters, and some are in between. As a cartoonist, I’m a marathonist. My normal format when I’m working on books, left to my own devices, is making longform works. When I’m asked to do shorter form work, for me the idea of putting a narrative on a single page is like, How would I even…? I love writing long dialogue. I’m kind of a maximalist, so the idea of trying to fit any kind of a narrative in that small of a space — I know it’s possible and there are people who do it beautifully — but how would I fit a story on a single page? It just seemed overwhelming. It made more sense to me to do… it’s obviously not a gag comic but it’s more of a… I don’t know!
Great Big Story has a short video interview with Daniel Clowes:
News. The New York Times has followed up on The Hollywood Reporter's recent story alleging that Stan Lee may be a victim of elder abuse.
For four decades, Mr. Lee has lived in a relatively modest two-story house in the middle of what has become some of Los Angeles’s most valuable real estate. Dr. Dre is a neighbor, and Leonardo DiCaprio lives down the block, on a street where houses can list for north of $30 million.
Inside the suburban-style home, a nurse and a maid bustled in the kitchen. Although Mr. Lee seemed at ease, the armed guard lent an air of surveillance that made it difficult to entirely relax.
The house is a time capsule of late 1970s Hollywood. Decorated by his late wife, it is dotted with ceramic animals, carved figures in African and Asian styles, and large gilt-framed mirrors hung on mirrored walls. Empty hooks surrounded by dusty outlines sit amid prints and original works by noted artists — Joan Miró, Pablo Picasso, Alexander Calder, Salvador Dalí and Roy Lichtenstein — suggesting a home being slowly eroded.
“My wife, she’s the only person in the world that I would know of who would put a big mirror on top of a big mirror,” Mr. Lee said. “And when she was here, she had so many paintings, all over. Most of them have left now. My daughter took a lot of them, and a lot of them have gone elsewhere.”
On Friday, Lee filed suit against his former business manager, Jerardo Olivarez.
Following The Hollywood Reporter’s investigative piece on Lee being a potential victim of elder abuse by his inner circle, the comic book icon filed a complaint in Los Angeles Superior Court claiming that Jerardo Olivarez is only one of the “unscrupulous businessmen, sycophants and opportunists who saw a chance to take advantage of Lee’s despondent state of mind, kind heart and devotion to his craft” after the death of his wife in 2017. Lee, whose time working at Marvel in the 1960s led to the creation of characters such as Spider-Man and Iron Man, alleges that by managing his affairs, Olivarez caused him to lose “a tremendous among of money as money and assets were being transferred to Olivarez by Lee without Lee being aware these actions were being taken.” The amount of money the suit claims was transferred from Lee’s Merrill Lynch Account without permission was approximately $4.6 million. The suit even claims that Olivarez orchestrated a scheme to sell Lee’s blood as “collectibles” in Las Vegas without his permission.