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Bernie Mireault
Bernie Mireault
Bernie Mireault
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Bernard Edward Mireault (June 27, 1961[1] – September 2024) was a Canadian comic book artist and writer.

Key Information

Biography

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Mireault was born in Marville, France, where his parents were stationed while working for the Canadian Forces. In 1963, the Mireault family moved back to Canada. Raised as an Anglophone in Rawdon, Quebec, he was an active participant in the Montreal underground comix scene, participating in the comix jams since their inception and contributing to local zines and underground publications. At the same time he worked in the mainstream comics industry as an artist and colourist, as well as an animator and illustrator.

Among his comics works are Dr. Robot, Mackenzie Queen, Bug-eyed Monster, The Blair Witch Chronicles, Left Alone: The Rustin Parr Killings, Two Fisted Science: Safecracker, When is a Door? The Tragic Though Amusing History of Clay Face II, and the creator-owned comic The Jam, first published as a backup feature in Northguard from Matrix Graphic Series, and then published in its own title in 1985 by various publishers starting with Matrix Graphic Series and then Comico, Slave Labor Graphics, Tundra Publishing, Dark Horse Comics, and Caliber Press.

Mireault illustrated the seminal Riddler story "When Is a Door," written by Neil Gaiman and published in Secret Origins Special #1 (Oct. 1989), in which the Riddler makes a meta-commentary about the dark turn of modern comics compared to those of the Silver Age.[2] As Brian Cronin of CBR wrote, "It'll likely be the comic book story that Mireault will be most remembered for among more casual comic book fans, and if you're going to be remembered for a single story, then this is the one to be remembered for, as it is a brilliant examination of the early days of the 'grim and gritty' superhero era."[3]

Mireault served as the artist on the story arc "The Devil Within" for Matt Wagner's Grendel comics in the late 1980s – notably coloured by Joe Matt. Mireault coloured several Grendel story arcs: "Warchild," "Devil's Hammer," "Devil in Our Midst," "Devil Tracks," "Devil Eyes," "Devil by the Deed," and "The Devil's Apprentice." As a colourist he had a long-standing collaborative relationship with Salgood Sam a.k.a. Max Douglas, a fellow Canadian artist. Together they worked on Realworlds: Wonder Woman, Muties #6: The Patriot Game, and Revolution on the Planet of the Apes.

Another long-standing collaborative relationship was with Mike Allred, with whom he produced Madman Jam: The Fall of the House of Escher, Creatures of the Id, and The Everyman. Mireault's character Dr. Robot first appeared as a back-up in Mike Allred's Madman.

Mireault had a part-time band called Bug-Eyed Monster, for which he wrote songs. Fellow cartoonist Howard Chackowicz was also a member of Bug-Eyed Monster.[4]

Mireault committed suicide in September 2024, at the age of 63.[4][5] He was survived by two sons and three sisters.[4]

Reception

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Comics critic Timothy Callahan has argued that Mireault is one of the unheralded creators who helped bring in the Modern Age of Comic Books:

Yet there's one creator who doesn't get mentioned nearly as often. A writer/artist who was combining the high Romanticism of the fantastic with the mundane life on the street as well as any of the others. A comic book creator whose visual style has rarely been duplicated, but whose sensibilities seem to predict the coming of cartoonists as diverse as Mike Mignola and Dash Shaw. I'm talking, of course, about Bernie Mireault.[6]

Awards

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Mireault was inducted into the Canadian Comic Book Creator Hall of Fame as part of the Joe Shuster Awards in 2020.[7]

Bibliography

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Notes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bernie Mireault

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Bernie Mireault was a Canadian comic book artist and writer known for his influential work in independent comics, particularly as the creator of the series The Jam. Born in France in 1961 and raised in Quebec, Mireault emerged from the Montreal underground comix and zine scene to gain recognition for his distinctive style and storytelling. His creator-owned projects, including The Jam—centered on a bohemian superhero navigating urban life—and other works like Mackenzie Queen, showcased his unique blend of humor, social commentary, and artistic experimentation. He also contributed to mainstream titles, providing art and colors for Matt Wagner's Grendel and other projects. Mireault's career spanned several decades, earning him admiration among peers in the alternative comics community for his originality and dedication to the medium. He died by suicide on September 2, 2024, at the age of 63.

Early life

Birth and family background

Bernie Mireault was born Bernard Edward Mireault on June 27, 1961, in Marville, France. He was the son of two Canadian military officers stationed there with the Canadian Armed Forces near the Belgian border. At the age of two, in 1963, Mireault moved with his family back to Canada, where he was raised primarily in Quebec. The family initially relocated between Quebec and Ontario due to his parents' military postings before eventually settling in the small town of Rawdon, north of Montreal. As a Canadian citizen born abroad to military parents, Mireault's early identity was shaped by this transatlantic background and subsequent life in francophone Quebec.

Early interest in comics and influences

Bernie Mireault developed an interest in comics during his youth in Quebec, though his early access was restricted by his mother's puritanical views that limited him to occasional Harvey comics, Archie, or Mad magazine while prohibiting superhero material. He discovered superhero comics independently by reading them at friends' houses or finding discarded copies, an experience that profoundly impacted him as the early 1980s Marvel artistic wave "hit him hard." School libraries exposed him to Franco-Belgian works such as Hergé's Tintin and Asterix, which he enjoyed, but it was mainstream North American superhero comics that ultimately sparked his ambition to create his own. Some of his most direct influences were the Hernandez brothers, Hergé, Jack Kirby, Harvey Kurtzman, Robert Crumb, Richard Corben, and Vaughn Bodé. He also drew from artists including Steve Ditko (particularly Doctor Strange), Frank Miller (for panel design and sequential movement), John Byrne, Barry Windsor-Smith, and others in the Marvel and independent scenes, synthesizing their approaches through self-directed study. After high school, while attending college in Montreal and taking his first serious art classes, he committed to becoming a cartoonist despite strong institutional stigma against comic art, connecting with peers who shared his passion and expanded his awareness of the medium's history. This early period of exploration and influence laid the foundation for his distinctive style blending humor, absurdity, and dynamic storytelling.

Career in comics

Independent work and creator-owned series

Bernie Mireault's independent work featured several creator-owned series that showcased his distinctive voice in comics. His early creator-owned project, Mackenzie Queen, was a five-issue series published by Matrix Graphic Series in 1985. The series served as an homage to Steve Ditko's Doctor Strange but incorporated an absurd, self-aware tone influenced by works like Cerebus. Mireault's signature creator-owned series, The Jam (also known as The Jammer or The Jam Urban Adventure), debuted as a backup feature in New Triumph Featuring Northguard in 1985, published by Matrix Graphic Series. The protagonist, Gordon Kirby, is an ordinary, laid-back Montreal resident who becomes a superhero simply by wearing a homemade costume and attempting good deeds, often accompanied by his goofy dog Harvey. Set firmly in Montreal's urban environment, the stories blend superhero tropes with grounded realism and humor, portraying an everyman hero who acts with sincerity rather than irony. Publication of The Jam spanned numerous independent publishers over decades, beginning with The Jam Special #1 from Matrix Graphic Series in 1987. It continued with The Jam: Super Cool Color-Injected Turbo Adventure from Hell #1 at Comico in 1988, followed by The Jam: Urban Adventure #1–5 at Slave Labor Graphics in 1989, issues #6–8 at Dark Horse in 1993, and issues #9–14 at Caliber Comics in 1995. The series included collaborations such as the Madman/Jam miniseries with Mike Allred at Dark Horse. Mireault produced more than 18 issues in total across these publishers and smaller presses. In 2022, About Comics collected the first five issues along with early short stories and pinups in the black-and-white trade paperback The Jam: Urban Adventure: Beginnings. Mireault's art for The Jam drew from underground comix influences, featuring ragged, distorted figures reminiscent of Robert Crumb, organic panel layouts that flow dynamically, stark urban backgrounds, and evolving inking with shifting line weights. The series is widely regarded as his magnum opus and the work that occupied the better portion of his career. Later, in 2012, he self-published the graphic novel To Get Her, a more autobiographical and downbeat sequel of sorts featuring an older Gordon Kirby.

Mainstream comic book contributions

Bernie Mireault contributed to several mainstream comic book series through work-for-hire roles at established publishers, most prominently through his extended collaboration with Matt Wagner on the Grendel series. He penciled issues #13–15 of Grendel (Comico the Comic Company, 1986 series), bringing his distinctive artistic style to the title during its run. Mireault also provided long-term inking and coloring contributions to the Grendel series for more than a decade, spanning multiple publishers including Comico and later Dark Horse Comics, including work on Grendel: War Child. Mireault's work at DC Comics included penciling a notable Riddler origin story written by Neil Gaiman in Secret Origins Summer Special #1 (1992), with inks by Matt Wagner and colors by Joe Matt. The story presented a distinctive interpretation of the character, depicting the Riddler as a disheveled figure in flannel pajamas, offering a new visual and narrative direction. He also provided coloring on select DC titles such as The Demon #22 (1990 series). These contributions highlighted Mireault's versatility in supporting established superhero properties while applying his unique approach to character design and atmosphere.

Work in animation and other media

Animation credits

Bernie Mireault contributed to several animated projects, primarily in supporting roles within the animation department. His most prominent early credit came as an assistant animator on the animated anthology film Heavy Metal (1981), specifically for the "Taarna" segment. In more recent years, Mireault served as a character designer on the animated series Zamzoom's Animal Adventures, beginning in 2020. These credits reflect occasional ventures into animation alongside his primary work in comics.

Other professional pursuits

In addition to his work in comics and animation, Bernie Mireault pursued illustration projects for magazines and alternative publications. He served as one of the regular illustrators for Black Gate, a print fantasy magazine, contributing full-color artwork to the publication. He created these pieces using digital tools and imitation ink-wash techniques, often with a cartoony and off-the-wall sensibility that contrasted with the magazine's high-fantasy tone. One standout example was his illustration accompanying William Lengeman's short story “The Entrance of Bob Enters Valhalla,” which depicted a sword battle on a roller coaster. Although his style sometimes clashed with reader expectations and even prompted criticism, editor John O’Neill valued Mireault's visual storytelling and continued to publish his work. Earlier in his career, during the 1980s and early 1990s, Mireault contributed artwork to Montreal's tabloid-sized entertainment alt-weeklies and alt-music zines, providing an early outlet for local cartoonists amid the city's underground scene. In later years, he collaborated on merchandise efforts, including a print-on-demand T-shirt line featuring designs and logos from his creator-owned series The Jam.

Personal life

Music and songwriting

Bernie Mireault maintained an active interest in music and songwriting throughout his life, pursuing it as a creative parallel to his work in comics. He served as the primary songwriter and a performer in the part-time band Bug Eyed Monster, where he wrote original songs and contributed to performances. The band featured collaborators including painter and drummer Mark Lang, with whom Mireault later worked on additional music projects. Fellow drummer Richard Pace recalled playing with Mireault in Bug Eyed Monster, praising him as "a great songwriter" and describing the experience as "one of my great pleasures in life." In more recent years, Mireault shared his songwriting output online through his YouTube channel, where he collaborated with Mark Lang to produce and arrange material, with all songs credited as written by Mireault.

Personal challenges

In his later years, Bernie Mireault faced financial hardship and a perceived lack of success in the comics industry despite his creative contributions. Colleagues and observers described him as a vastly under-appreciated talent, noting that the industry did not reward him commensurate with his abilities and influence. Tributes following his passing emphasized his generosity and skill while acknowledging the personal struggles he endured amid limited recognition.

Death

Circumstances of death

Bernie Mireault committed suicide on September 2, 2024, at the age of 63. The news of his death became public two days later on September 4, 2024, when his friend and fellow Montreal cartoonist Howard Chackowicz shared the announcement. This followed a period of personal challenges documented in prior accounts of his life. In his announcement, Chackowicz noted that Mireault had cited ongoing poverty, poor health, and lack of hope as factors in his decision.

Legacy

Reception and influence

Bernie Mireault's work has earned sustained admiration in alternative and indie comics circles, particularly for its distinctive blend of personal storytelling, realistic character work, and inventive superhero elements in titles like The Jam. Cartoonist Dave Cooper has expressed appreciation for Mireault's contributions, listing The Jam alongside other admired works as part of his own influences. Mireault's art and approach have been cited as an influence on Cooper and others in the indie scene. Critics have long praised his output, with a Comics Journal reviewer noting nearly twenty-five years of admiration for Mireault's cartooning and describing one of his later works as lively and deeply personal. His contributions to Canadian comics were formally acknowledged during his lifetime with induction into the Canadian Comic Book Creator Hall of Fame in 2020 as part of the Joe Shuster Awards.

Tributes and recognitions

Following his death on September 2, 2024, Bernie Mireault received numerous tributes from friends, peers, and comics publications. His lifelong friend and fellow Montreal cartoonist Howard Chackowicz announced the passing and shared a personal tribute expressing profound grief and admiration for Mireault's talent and character. This announcement and tribute were widely referenced across the comics community. Publications in the field paid homage through memorial articles and reflections. The Comics Journal featured an extensive remembrance piece in October 2024 that celebrated Mireault's unique voice in independent comics and his lasting contributions. Comicon.com published a tribute describing Mireault as "a wonderful and vastly under-appreciated artist" whose work deserved greater recognition. Other outlets, including Down the Tubes and Tripwire Magazine, highlighted his career and influence while noting his status as a member of the Canadian Hall of Fame, underscoring his standing in Canadian comics. These pieces collectively reflected the respect Mireault earned within the industry.
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