From this film, Smith went on to make MALLRATS, CHASING AMY, DOGMA, write DAREDEVIL and GREEN ARROW and become the sought after darling of both the film and comic world.
Also from this film came two characters who have made their mark in all four Smith films, action figures, t-shirts and the like. Comic cons have even featured costume contests based on these characters.
They are Jay and Silent Bob. They are media sensations. They are hip. They are the stars of their own four issue comic series from Oni Press written, coincidentally, by Kevin Smith.
Issue #1 opens with a barely dressed women named Tricia on the phone with someone named Holden. If you're not familiar with the View Askew Universe, Holden Mcneil is the co-creator of a comic book called BLUNTMAN & CHRONIC: two superheroes loosely based on Jay and Silent Bob. As we follow the woman to the next page, a double page spread mind you, she proceeds to describe her house-guests as a "pair of walking-talking S.T.D.'s). In a room which bears a striking resemblance to a war zone are out two characters: zoned out. Comics(including Vertigo's GIRL) are strewn across the floo. A well-worn blow-up doll sits in one corner. Video game components are scattered about. A bottle of beer fizzes ominously. Ladies and gentlemen: this is Jay and Silent Bob's world. And it only gets weirder and wilder from here.
We learn that Holden, amidst a bunch of sexist, homophobic references, wants to meet with Jay and Silent Bob to give them their royalty checks for BLUNTMAN & CHRONIC. Jay just wants to get laid-to the point that he tries to have his way with tricia in the shower (which is LESS than appreciated by the raven haired beauty). Silent Bob just wants to watch John Hughes films like THE BREAKFAST CLUB and PRETTY IN PINK. Tricia is an author, known for her book BOREGASM. She tells a reporter that Jay is one of her test subjets.
The pair end up, after a minor scuffle with an overzealous sales clerk, hanging out in front of Quick Stop Groceries and RST Video: their favorite hang-out from CLERKS.
Before issue #1 is through, they meet with Holden at the Marina Diner (a scene we never see...watch CHASING AMY, because that's where it comes from)and make the decision to leave town and head off to Shermer, Illinois: the fictional town of John Hughes films. After all, with all the fine looking women there, they should rule the town.
It is, of course, a fictional town.
Issue #2 begins with our hapless heroes getting evicted from the bus to Chicago for smoking doobies in the washroom. Stuck in Pittsburgh, Jay gets beat up by a lady chaffeur he tries to impress with his suave moves. Come to find out, the limo belongs to non other than Mister Rogers (yes, THAT Mister Rogers), who is far from impressed with the boys (being this is a family publication, I can't tell you what the TV celebrity says).
Silent Bob finds Nirvana in the form of the Mooby Store(he's a big kid into collectibles). Jay finds his Nirvana in the form of a porno actress who asks for a light. Soon Jay finds himself being invited (well, he kind of begs) to be in an adult film. Jay auditions by dropping trou right in the street. He gets the job because they need someone to "make the leads look bigger". So Silent Bob and 'Stubby', as Jay is soon known as, make their way to the set of DOOGIE NIGHTS: the quasie-indie film (fancy name for porn) directorial debut of Neil Patrick Harris (AKA Doogie Howser). Following a quick, but hillarious tour of set set (a hospital, of course), Silent Bob goes off for a quick one in the loo with Miss Tiffany and jay gets to be a fluffer for a day.
All in a days work for these boys, especially when the set up for issue #3 is a FUGITIVE parody.
This series is great, if you're a fan of Smith's View Askew work. There are just enough references to CLERKS, MALLRATS and CHASING AMY to keep the fans more than happy. And it acts as the consumate bridge between CHASING AMY(where parts of this tale actually occur within) and DOGMA which, in part, is about Jay and Silent Bob's trip to Illinois. Smith's writing is cutting edge, similar to the style of writer/director Quentin Tarrantino. his words just flow so easily from out of the character's mouths with the exception of Silent Bob who, except for a brief scene in CHASING AMY, doesn't talk). And Duncan Fegredo's art is detailed but not overly lingering. It expresses a mood or an expression and gets on with the next panel.
Also very cool are the covers. Issue #1's variant was a very Sixties styled work by Joe Quesada and Jimmy Palmiotti while issue #2 featured a beautifil piece by MADMAN's Mike Allred. Coincidentally, all three made cameo appearances in Smith's CHASING AMY.
Here's the problem with the series: it's slanted at one target audience-the Kevin Smith afficiando. The inside jokes, the foul-language, the continual homophobic patter-they are all trademarks of Smith's films and his characters. If you're a fan, it's easy to hear the voices in your head as you read. if not, you have NO idea who these people are, why you should care about them or anbything else. All you can do is marvel at the work Smith and Fegredo has put ionto it.
Be aware-this book will offend many. It's crude, shoot-from-the-hip-and-you better-damn-well-duck-or-else mentality is not for everyone. It's vulgar and obscene at times. But it's also funny as hell.
And many fans already know that, as this book was a major sell-out across the country, causing at least issue #1 to go back to a second printing. The first View Askew tale, in ONI DOUBLE FEATURE #1, went back for numerous printings, as did CLERKS #1, making it the most successful black and white comic of the year.
If you know NOTHING about Kevin Smith's films or these characters, go rent a copy of CLERKS. Be prepared: it's black and white and the acting is somewhat stilted. Once you have digested that, slide into MALLRATS: Smith's big budget film. Then dip into CHASING AMY, with Ben Affleck and Joey Lauren Adams. His most beautiful film to date, it is filled with many cool comic cameos watch for CJ Bunn, Len Mihalovich and Susan Alston. But be warned-some of them are quick!).
And, if you survive all that, THEN go for this book. While you may enjoy it's wit and wisdom without having seen the films, it sure helps an awful lot to be familiar with them.
Snootchie bootchies, y'all!