A Look Back at Grips and the Indie Comic Scene of Summer 1986

During the summer of 1986, Grips by SilverWolf Comics hit the shelves—a gritty, stylized indie title that left a lasting impression on me. With compelling artwork by Tim Vigil and a story written by Kris Silver, Grips quickly became one of my favorite books of the era. It had everything that defined the indie comic boom of the mid-80s: raw energy, mature themes, and that elusive underground aesthetic that set it apart from mainstream titles.

Around that time, the comics community was buzzing, thanks in part to the breakout success of a certain black-and-white book about four ninja turtles. This momentum encouraged many collectors to start paying attention to small-press releases. Indie titles often had limited print runs, were printed with dark or black covers (making them difficult to find in high grades), and explored edgier content. Grips was no exception—it was intense and graphic, especially for my high school freshman self.

The interiors of issue #1 were unforgettable. I can still recall the shock and awe I felt as I turned the pages and witnessed Grips—a hyper-violent vigilante—slice off the arms of two drug dealers in the middle of a shady briefcase exchange. Imagine Daredevil with enhanced vision, Wolverine’s claws swapped out for blades (complete with built-in pistols), and a brutal sense of justice. That was Grips.

I was living in Northern California then, and my local comic shop, the Land of Nevawuz, fed my growing appetite for indie comics. SilverWolf Comics was based just about 100 miles away in Sacramento, making the connection feel even more local and personal. I remember ordering a print portfolio advertised in the back of issue #1. A few weeks later, I received five Tim Vigil prints, carefully mailed in a cardboard-backed envelope—something I still remember vividly.

Over the past decade, I’ve had the chance to meet Tim Vigil at two comic conventions in Florida. The first time was unexpected; I hadn’t known he’d be attending, and the only book I could find for him to sign was a copy of Zombie ’68. He was incredibly kind—he not only signed the book but also sketched a detailed zombie head on the spot. At a later show, I commissioned a three-quarter figure zombie sketch on a blank cover for $60, and the result was fantastic. He also signed all my books and prints, free of charge, during a 2016 appearance.

While Vigil’s later work, particularly on Faust, veered into darker territory than I typically enjoy, he remains one of my favorite artists. His work on Grips, along with the unique charm of SilverWolf Comics and that unforgettable summer of 1986, continues to hold a special place in my heart.

Rob Pillsbury