"I came in on the decline. Phil Elliot was in first, he got his book out, he sold thirteen thousand, I think he got two issues out before I got mine in, this was March '87. He was out in December '86"
About this Quote
“I came in on the decline” is the kind of offhand remark that quietly reorders a whole career. Eddie Campbell isn’t telling a heroic origin story; he’s marking himself as a late arrival to a scene already cooling, where the romance of discovery has been replaced by the accounting of outcomes. The language is almost aggressively procedural: names, dates, issue counts, sales numbers. It’s not nostalgia, it’s inventory.
That specificity is the point. Campbell frames artistic life as logistics and timing, not pure talent or destiny. Phil Elliot “got his book out” first, sold “thirteen thousand,” managed “two issues” before Campbell even entered the ring. The subtext is a familiar creative-world bruise: your work doesn’t land in a vacuum; it lands in a marketplace that may already have moved on. By anchoring the story in March ’87 versus December ’86, he makes the difference between momentum and missed opportunity feel brutally small.
The quote also hints at the brittle ecology of alternative comics in the late ’80s: micro-publishers, short print runs, fast-changing tastes, the sense that a window can open and close in a season. Campbell’s tone isn’t jealous so much as clear-eyed, almost documentarian. He’s demythologizing the “indie breakthrough” narrative and replacing it with something more adult: the recognition that cultural waves crest without warning, and that artists often arrive not at the beginning of movements, but at their fade-out, trying to build anyway.
That specificity is the point. Campbell frames artistic life as logistics and timing, not pure talent or destiny. Phil Elliot “got his book out” first, sold “thirteen thousand,” managed “two issues” before Campbell even entered the ring. The subtext is a familiar creative-world bruise: your work doesn’t land in a vacuum; it lands in a marketplace that may already have moved on. By anchoring the story in March ’87 versus December ’86, he makes the difference between momentum and missed opportunity feel brutally small.
The quote also hints at the brittle ecology of alternative comics in the late ’80s: micro-publishers, short print runs, fast-changing tastes, the sense that a window can open and close in a season. Campbell’s tone isn’t jealous so much as clear-eyed, almost documentarian. He’s demythologizing the “indie breakthrough” narrative and replacing it with something more adult: the recognition that cultural waves crest without warning, and that artists often arrive not at the beginning of movements, but at their fade-out, trying to build anyway.
Quote Details
| Topic | Book |
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